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Colombian Spanish has its playful way with words and it’s easy to get things mixed up, especially when you’re still learning the language. Take these 4 words for example: coco, coca, cacao, cocada. All look very similar

tonon-Spanish speaking travelers.

We’re gonna give you the low down on these 4 ‘C’ words to help you improve your Colombian Spanish. It’llserve you well when you <<travel to Cali and around the country>>.

Rule 1: When looking for coco (ko-ko), aka coconut, whether shredded or whole, don’t ask for coca (ko-ka). Coca is the plant which natives chew in high elevations to combat altitude sickness and fatigue. It’s the same plant thatcriminals chemically process into cocaine. Many call cocaine “coca” though they are two distinct products. So don’t be the personat the <<Alameda Market>> asking the guy twisting out coconuts for drugs.

Rule 1:

Fyi, cocaine is not a cool thing here and if you have some Hollywood delusions about<<what life is like in Cali>>, you should leave those delusions at home. Most people in Cali and the rest of Colombia, are hard workingcitizens whojust want to live, the same as you and I.

Cocainehas hurtColombia in ways that outsiders can’t imagine. It’s important to respect what the local’shave had to endureand to understand the damage that this clandestine activity has caused.

Rule 2: With Rule #1 in mind, you can get <<coca leaves>>, to chew on or to drink in tea. Coca leaves have been found to be very high in Vitamins and Minerals. Within Colombia it’s legal to have a certain amount of the leaf.

Rule 2:

Rule 3: <<Cacao>> (kah-cow) is the fruit from where all chocolate comes from. That’s right, chocolate comes from a fruit. Packed with minerals that are lacking from the standard western diet, many people claim it to be the world’s number 1 “superfood.”

Rule 3:

It’s not easy to find Cacao in Colombia unless you know where to find it. Colombia is not the largest producer of cacao, nor does it appear to have an easily accessible marketplace, where anyonecan purchase raw cacao beans or other <<cacao products>>. Your best option is to befriend someone with ties to the Pacific Coast or the Santander area, and see if they can scoop you some from theirpersonal farm, much like the cacao we got from Tumaco .

A principle is “a fundamental, primary, or general truth, on which other truths depend.” Thus a principle is an abstraction which subsumes a great number of concretes. It is only by means of principles that one can set one’s long-range goals and evaluate the concrete alternatives of any given moment. It is only principles that enable a man to plan his future and to achieve it.

The present state of our culture may be gauged by the extent to which principles have vanished from public discussion, reducing our cultural atmosphere to the sordid, petty senselessness of a bickering family that haggles over trivial concretes, while betraying all its major values, selling out its future for some spurious advantage of the moment.

To make it more grotesque, that haggling is accompanied by an aura of hysterical self-righteousness, in the form of belligerent assertions that one must compromise with anybody on anything (except on the tenet that one must compromise) and by panicky appeals to “practicality.”

But there is nothing as impractical as a so-called “practical” man. His view of practicality can best be illustrated as follows: if you want to drive from New York to Los Angeles, it is “impractical” and “idealistic” to consult a map and to select the best way to get there; you will get there much faster if you just start out driving at random, turning (or cutting) any corner, taking any road in any direction, following nothing but the mood and the weather of the moment.

The fact is, of course, that by this method you will never get there at all. But while most people do recognize this fact in regard to the course of a journey, they are not so perceptive in regard to the course of their life and of their country.

“The Anatomy of Compromise,” , 144

Concrete problems cannot even be grasped, let alone judged or solved, without reference to abstract principles.

“Credibility and Polarization,” , I, 1, 3

You have no choice about the necessity to integrate your observations, your experiences, your knowledge into abstract ideas, i.e., into principles. Your only choice is whether these principles are true or false, whether they represent your conscious, rational convictions—or a grab-bag of notions snatched at random, whose sources, validity, context and consequences you do not know, notions which, more often than not, you would drop like a hot potato if you knew....

Ideally, go outside and take a ten-minute walk.

First, you take a mental break by not freaking yourself out, and second, you take a physical break by actually taking a break. It will take you no more than ten minutes. The longer the break, the better, but I know you are short on time so five minutes is perfectly fine. Go wash your face, go up and down the stairs, go outside, go on the balcony, breathe in some fresh air, but just take a break.

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You need to reassess what happened, why it happened, and most importantly, what you can do about it.

You had a plan, the plan for some reason got ruined, so you need to reassess the situation and make a new one. You need to adjust to the circumstances, adjust to the changes, reassess the situation, and make a plan.

Sit down for five minutes and make a plan. Just ask yourself: “okay I have this much time, I have one third of my day left, or one half, or three-fourths, (whatever), what’s the new plan?

While you’re making your plan, you need to also prioritize your tasks.

Prioritize ruthlessly .

Now you have less time. You need to do first the tasks that are super important or the ones that absolutely need to be accomplished today. Maybe you have an important report due, or maybe you have something that’s actually due today that you cannot postpone for tomorrow. While you’re reassessing, prioritize your tasks.

If there’s something that needs to be done today: highest priority. If there’s something that’s actually high priority, put it on the top of your list. Now you have less time, less energy, or less motivation, so now you need to be very good at prioritizing. While previously you had a full day to do this, now you have a half day, so naturally you cannot accomplish everything.

Do the most important tasks first, and if you have any time left over, then do the other ones.

Sometimes your environment is the cause of your “unproductivity”.

Michael Mercil,, 2014. Wood crate, hand tools, paint, brushes, canvas cloth. Courtesy of the artist. Photo by Clements Photography and Design, Boston.

Installation view, , with Spencer Finch, , 2013 and , 2007; Lisa Sigal, , 2014; and Michael Mercil, , 2014. Courtesy of the artists and James Cohen Gallery, New York/ Shanghai. Photo by Clements Photography and Design, Boston.

Installation view, including Gina Siepel, , 2014; David Brooks,, 2014; and Jane D. Marsching with Sarah Baumert, , 2011. Courtesy of the artists. Photo by Clements Photography and Design, Boston.

Gina Siepel, , 2014 Modified boat, drawings, audio, video Courtesy of the artist Photo by Clements Photography and Design, Boston

Installation view, , featuring Spencer Finch, , 2013; David Brooks, 2014; Jane D. Marsching with Sarah Baumert, , 2011; Jane D. Marsching, , 2010; and Deb Todd Wheeler, , 2014. Courtesy of the artists, James Cohen Gallery, New York/ Shanghai, and Miller Yezerski Gallery, Boston. Photo by Clements Photography and Design, Boston.

Spencer Finch, 2007 Paper collage,50 x 138 inches Courtesy of the artist and James Cohan Gallery, New York / Shanghai

Jane D. Marschingwith Matthew Shanley,, 2010 15 x 25 inches, edition of 5; collograph, dry point, japanese woodblock, digital print created at Ningyo Editions, Watertown, MA with David Curcio and Edward Monovich photo credit: Stewart Clements

Deb Todd Wheeler, , 2014 Underwater video still. Photo Courtesy of the Artist.

Gina Siepel, After Winslow Homer: Portrait of the Artist as "The Trapper" 2010, archival inkjet print, 26" x 40" Made in collaboration with Monika Sziladi

Oscar Palacio, , 2013-14 inkjet prints Courtesy of the artist Photo by Clements Photography and Design, Boston

Hilary Wilder, , 2011-2014 Hand-painted Yupo paper, glue Courtesy of the artist Photo by Clements Photography and Design, Boston

Installation view, featuring David Brooks, , 2014; and William Lamson, , 2014. Courtesy of the artists. Photo by Clements Photography and Design, Boston.

William Lamson,, 2014 Color photograph, 20 x 30 inches Courtesy of the artist

William Cordova, , 2014 ink transfer, graphite, oil, collage on reclaimed paper Courtesy of the artist and Sikkema Jenkins Co., New York, NY Photo by Clements Photography and Design, Boston

William Cordova (from the suite), 2014 8 ½ x 12 inches, graphite, ink transfer, collage on reclaimed file folder courtesy of the artist and Sikkema Jenkins Co. New York, NY

Futurefarmers,2013 Pencil-making Workshop, July 2013 Courtesy of the artists

Futurefarmers,2013 Pencil-making Workshop, July 2013 Courtesy of the artists

Click images for larger view
On View Oct 31, 2014 - Apr 26, 2015

features works by contemporary artists inspired by Walden–the pond; the book published in 1854 by natural history philosopher, social critic, and early environmentalist Henry David Thoreau; and the connection and disconnection between the two. In 1845, Thoreau (1817–1862) embarked on a now-legendary two-year, two-month, and two-day venture into the Concord woods to write and live “Spartan-like.” He immortalized his experiment in Walden; or Life in the Woods, which extols the virtues of a life simplified to “only the essential facts,” spent in a self-built, one-room cabin near the shores of Walden Pond.

Today, 160 years after its first publication, Walden is firmly ensconced in the canon of great American literature. It remains the foundational text for American nature writing, and its message of living simply, economically, and intentionally has resonated throughout subsequent generations. In the wake of the Great Recession and the growing urgency of climate change, Walden emerges again as a home-grown American handbook dedicated to self-reliance and a life lived with, not against, nature.

These same topics loom large as contemporary artists rethink their relationship to society, the environment, and the role of art within culture. Walden, revisited brings fifteen artists to deCordova, the pond’s neighbor, to contemplate and review the less explored legacies of this great American memoir through and in contemporary art practices.

features sculpture, installation, performance, painting, drawing, and video, alongside new commissions. Artists include James Benning, David Brooks, William Cordova, Spencer Finch, Futurefarmers, William Lamson, Ana María Gómez López and Pamela Jordan, Jane D. Marsching, Michael Mercil, Oscar Palacio, Gina Siepel, Lisa Sigal, Jennifer Sullivan, Deb Todd Wheeler, and Hilary Wilder.

Visit our collaborators: Walden Pond State Reservation , Concord Museum , Theia 9ct White Gold Celtic Design 006ct Round Diamond 5mm Wedding Ring QUZdrIML
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This exhibition has been supported in part by the generosity of the National Endowment for the Arts, the Nathaniel Saltonstall Arts Fund, and the Artist's Resource Trust. Additional support for this exhibition has been provided in part by an anonymous donor and Joyce Linde.Funding for programming has been partially provided by the Ogden Codman Trust.

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