- published: 13 Aug 2010
- views: 1128094
- author: ladybugvideos
10:01
The Amazing Feather River Railroads-see the Seven Railroad Wonders of the World!
One of great railroad routes in the world. This film was done in 2009, one of the last bus...
published: 13 Aug 2010
author: ladybugvideos
The Amazing Feather River Railroads-see the Seven Railroad Wonders of the World!
One of great railroad routes in the world. This film was done in 2009, one of the last busy years for this route. That's because the Union Pacific Railroad m...
- published: 13 Aug 2010
- views: 1128094
- author: ladybugvideos
4:32
Feather River Canyon
Hwy.70 along Feather River Bucks Lake....
published: 27 Jun 2008
author: Blackened75
Feather River Canyon
Hwy.70 along Feather River Bucks Lake.
- published: 27 Jun 2008
- views: 5115
- author: Blackened75
1:47
Union Pacific's Feather River Route
In 1982, the Western Pacific system, including the Feather River Canyon route, was purchas...
published: 24 Jul 2007
author: pentrexvideos
Union Pacific's Feather River Route
In 1982, the Western Pacific system, including the Feather River Canyon route, was purchased by the Union Pacific. Improvements began immediately to facilita...
- published: 24 Jul 2007
- views: 18751
- author: pentrexvideos
2:05
Feather River Salmon Run 2010
A short underwater video of the annual Salmon run on the Feather River, Oroville, CA....
published: 14 Sep 2010
author: seawellproductions
Feather River Salmon Run 2010
A short underwater video of the annual Salmon run on the Feather River, Oroville, CA.
- published: 14 Sep 2010
- views: 4300
- author: seawellproductions
3:07
Salmon Fishing on Feather River in Northern CA. 2010
http://www.optimisticlifestyle.com , Salmon Fishing on the Feather River in Northern Calif...
published: 09 Sep 2010
Salmon Fishing on Feather River in Northern CA. 2010
http://www.optimisticlifestyle.com , Salmon Fishing on the Feather River in Northern California just north of Shang high Ben Near Sacramento. 2010.
- published: 09 Sep 2010
- views: 4053
4:26
Feather River surfing 2. Yuba City @ Shanghai Bend
This is from the same day, 3.26 (lotta footage on a never-ending wave) this is a well know...
published: 04 Apr 2012
author: inyubasha2
Feather River surfing 2. Yuba City @ Shanghai Bend
This is from the same day, 3.26 (lotta footage on a never-ending wave) this is a well known fishing spot, I began rope surfing the different waves last fall....
- published: 04 Apr 2012
- views: 1059
- author: inyubasha2
8:47
At The Railyard: Feather River Route
Western Pacific's alternative to building over the mountains was to follow the Feather Riv...
published: 17 May 2009
author: trmania
At The Railyard: Feather River Route
Western Pacific's alternative to building over the mountains was to follow the Feather River canyon. The architecture involved in orchestrating this makes...
- published: 17 May 2009
- views: 9466
- author: trmania
11:01
Stack Train in Feather River Canyon
Rumors of Union Pacific routing stack trains to Donner prompted me to visit the Feather Ri...
published: 26 Nov 2009
author: cchan006
Stack Train in Feather River Canyon
Rumors of Union Pacific routing stack trains to Donner prompted me to visit the Feather River Canyon a few times this year, to make sure I catch them in acti...
- published: 26 Nov 2009
- views: 19151
- author: cchan006
7:36
UP 844 FEATHER RIVER CANYON
Chasing UP 844 Steam through Feather River Canyon, featuring Northfork Bridge, Keddie Wye,...
published: 03 May 2009
author: ownry
UP 844 FEATHER RIVER CANYON
Chasing UP 844 Steam through Feather River Canyon, featuring Northfork Bridge, Keddie Wye, Williams Loop and Clio Trestle still photos also at: http://picasa...
- published: 03 May 2009
- views: 15385
- author: ownry
78:05
FOOTBALL- FEATHER RIVER vs CHABOT 1ST HALF 10-27-12 (WEEK 9)
...
published: 06 Nov 2012
author: gametime2k12
FOOTBALL- FEATHER RIVER vs CHABOT 1ST HALF 10-27-12 (WEEK 9)
- published: 06 Nov 2012
- views: 496
- author: gametime2k12
76:05
Train Ride on the Feather River Express
On August 21st, 2011, I was given the opportunity by a good friend of mine to ride the Fea...
published: 28 Jul 2012
author: Amtrakdavis22
Train Ride on the Feather River Express
On August 21st, 2011, I was given the opportunity by a good friend of mine to ride the Feather River Express from Portola to Davis, California. The Feather R...
- published: 28 Jul 2012
- views: 2568
- author: Amtrakdavis22
2:28
Charge at Feather River, The textless trailer
...
published: 07 Jan 2013
author: Victor Creed
Charge at Feather River, The textless trailer
- published: 07 Jan 2013
- views: 494
- author: Victor Creed
4:33
The Feather River Canyon
The Feather River Route is a rail line that was built and operated by the Western Pacific ...
published: 30 Jan 2008
author: gyjg6564167
The Feather River Canyon
The Feather River Route is a rail line that was built and operated by the Western Pacific Railroad. It was constructed between 1906 and 1909, and connects th...
- published: 30 Jan 2008
- views: 23920
- author: gyjg6564167
5:06
Joe O'Neill, Feather River College 2012-13
My video footage of football (soccer) at FRC, California, Freshmen year....
published: 09 Feb 2013
author: Joe O'Neill
Joe O'Neill, Feather River College 2012-13
My video footage of football (soccer) at FRC, California, Freshmen year.
- published: 09 Feb 2013
- views: 235
- author: Joe O'Neill
Vimeo results:
16:19
GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1
HQ. gestalt work on awareness, part 1. hebrew subtitles added.
BY FRANKLYN WEPNER ...
published: 13 Aug 2011
author: franklyn wepner
GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1
HQ. gestalt work on awareness, part 1. hebrew subtitles added.
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
HOW I WORK: GESTALT DREAMWORK AS THEATER AND PROPHECY
GESTALT DREAM WORK AS PREPARATION FOR PERFORMING
Since 1975 I have been using Gestalt work on awareness, dreams and personal relationships as a way to train and direct performers. The basic principle is simple. I use the Gestalt work to peel the onion of layer after layer of social cliches, ego games and unfinished personal business, and then I do the reverse process reconstituting the onion in the form of characters or other artist structures. The existential message of the dream becomes the superobjective or action of the tragedy, and then I build up the way the performer handles the characters and the plot around that.
My usual procedure is to begin the training with three Gestalt sessions, one on one. The first session, two hours long, deals with the three zones of awareness. During the first hour I simply let him relate what he aware of, since I want to know how he operates before I start meddling with his life. This is important since overall during the Gestalt sessions we are peeling the onion of cliches and games to get to authentic action, and later we will need all of those layers to rebuild the onion as characters involved in the unfolding action of a drama. We need his cliche and game layers for the beginning of the action in Act One as much as we need his authentic action at the end of the dramatic action for Acts Four and Five of a tragic drama.
During the second hour of the first Gestalt session on awareness I attempt to guide him towards a balance of the zones of awareness: outer zone awareness of the environment, inner zone awareness of his body, and fantasy zone awareness of his daydreams. The second and third Gestalt sessions are each three hours long, and each is a typical Gestalt dreamwork session as presented by Fritz Perls in Gestalt Therapy Verbatim. The performer tells the dream in the here and now, identifies with (play acts) several of the main images of the dream in dialogues with each other, and experiences the rhythm of contact and withdrawal. That is to say, after each major dialogue of polarized sides of himself (the contact part) he is instructed to close his eyes, enter his body awareness and daydream (the withdrawal phase of the rhythm).
Since my goal is theater as well as healing, whenever possible during the Gestalt dreamwork I encourage lots of expression using sound and movements. I work with a palette of about 200 different types of recorded musical excerpts, and whenever appropriate I ask him if that image or emotional state were part of a movie what sort of music might be the sound track. Then I find something close to that in my palette of musical colors and ask him to express the mood using the music along with his vocalizing and expressive movements. While he is doing the entire session I spend most of my time jotting down near verbatim notes and making stick figures of his poses and movements, since later in the work I will feed all this back to him and encourage him to explore using it as creative material for acting, dance or whatever his medium is. Taping the session is less useful, since then I would need to spend too much time replaying the tapes. Taking notes live forces me to sort out the wheat from the chaff very efficiently, even at the cost of not observing or notating every detail.
WORKING OUT FROM YOUR CENTERS
After the three introductory one on one Gestalt sessions, session number four is for feedback and discussion of the results. I show him in my notes and diagrams all of the stages of competed and uncompleted actions, and together we search for characters in the theater literature that have similar patterns of action. Is he a Hamlet type, or an Oedipus type, for example? In contrast to the usual practice in acting classes, his first acting assignment probably will be a monologue from a serious tragedy, since I want him to begin with a dramatic action with which he can identify totally. In this process he is using his major Gestalt moments as what Michael Chekhov in his book "To The Actor" labels "psychological gestures". Perls calls them the "essences" of a patient's personality, or we can say he is working from his "centers", stretching those sounds, moves and psychological motivations in as many creative directions as he can. I monitor closely to be sure he is not faking it, the way most actors end up doing since they do not have the centers to begin with.
Before the performer begins working with others doing improvs and scenework, there is an important transitional stage in the work in which I help him get comfortable using his very personal Gestalt material freely as creative material. He needs to shift from seeing himself as a patient to enjoying the role of an artist of the
29:21
GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)
part 3 of a two hour gestalt session on awareness with actress bel baca. the focus here is...
published: 01 Jan 2011
author: franklyn wepner
GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)
part 3 of a two hour gestalt session on awareness with actress bel baca. the focus here is "the rhythm of contact and withdrawal", alternating between contact with the environment and withdrawal into the void of "not knowing" to discover what fantasies and new ideas are waiting to emerge into awareness there.
TO VIEW OR DOWNLOAD ALL OF MY VIDEOS, PLUS 1500 PAGES OF MY EXPLANATORY ESSAYS (ALL AT NO CHARGE) PLEASE VISIT MY WEBSITE: franklynwepner.com. ALSO PLEASE NOTE MY NEW EMAIL ADDRESS, IF YOU WOULD LIKE TO SHARE WITH ME ANY COMMENTS ABOUT MY WORK: franklynwepner@gmail.com. IN THE LISTING OF VIDEOS THE LETTERS (HQ) REFER TO A HIGHER QUALITY VERSION OF THE VIDEO, WHICH IS AVAILABLE TO YOU IF YOUR COMPUTER CAN HANDLE IT.
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
HOW I WORK: GESTALT DREAMWORK AS THEATER AND PROPHECY
GESTALT DREAM WORK AS PREPARATION FOR PERFORMING
Since 1975 I have been using Gestalt work on awareness, dreams and personal relationships as a way to train and direct performers. The basic principle is simple. I use the Gestalt work to peel the onion of layer after layer of social cliches, ego games and unfinished personal business, and then I do the reverse process reconstituting the onion in the form of characters or other artist structures. The existential message of the dream becomes the superobjective or action of the tragedy, and then I build up the way the performer handles the characters and the plot around that.
My usual procedure is to begin the training with three Gestalt sessions, one on one. The first session, two hours long, deals with the three zones of awareness. During the first hour I simply let him relate what he aware of, since I want to know how he operates before I start meddling with his life. This is important since overall during the Gestalt sessions we are peeling the onion of cliches and games to get to authentic action, and later we will need all of those layers to rebuild the onion as characters involved in the unfolding action of a drama. We need his cliche and game layers for the beginning of the action in Act One as much as we need his authentic action at the end of the dramatic action for Acts Four and Five of a tragic drama.
During the second hour of the first Gestalt session on awareness I attempt to guide him towards a balance of the zones of awareness: outer zone awareness of the environment, inner zone awareness of his body, and fantasy zone awareness of his daydreams. The second and third Gestalt sessions are each three hours long, and each is a typical Gestalt dreamwork session as presented by Fritz Perls in Gestalt Therapy Verbatim. The performer tells the dream in the here and now, identifies with (play acts) several of the main images of the dream in dialogues with each other, and experiences the rhythm of contact and withdrawal. That is to say, after each major dialogue of polarized sides of himself (the contact part) he is instructed to close his eyes, enter his body awareness and daydream (the withdrawal phase of the rhythm).
Since my goal is theater as well as healing, whenever possible during the Gestalt dreamwork I encourage lots of expression using sound and movements. I work with a palette of about 200 different types of recorded musical excerpts, and whenever appropriate I ask him if that image or emotional state were part of a movie what sort of music might be the sound track. Then I find something close to that in my palette of musical colors and ask him to express the mood using the music along with his vocalizing and expressive movements. While he is doing the entire session I spend most of my time jotting down near verbatim notes and making stick figures of his poses and movements, since later in the work I will feed all this back to him and encourage him to explore using it as creative material for acting, dance or whatever his medium is. Taping the session is less useful, since then I would need to spend too much time replaying the tapes. Taking notes live forces me to sort out the wheat from the chaff very efficiently, even at the cost of not observing or notating every detail.
WORKING OUT FROM YOUR CENTERS
After the three introductory one on one Gestalt sessions, session number four is for feedback and discussion of the results. I show him in my notes and diagrams all of the stages of competed and uncompleted actions, and together we search for characters in the theater literature that have similar patterns of action. Is he a Hamlet type, or an Oedipus type, for example? In contrast to the usual practice in acting classes, his first acting assignment probably will be a monologue from a serious tragedy, since I want him to begin with a dramatic action with which he can identify totally. In this process he is using his major Gestalt moments as what Michael Chekhov in his book "To The Actor" labels "psychological gestures". Per
6:33
"Devil's Gold" - Fly Fishing for Golden Dorado in Bolivia
The name of the village Oromomo — the access point to the Pluma and Itirisama Rivers in Bo...
published: 01 Apr 2011
author: Castaway Films
"Devil's Gold" - Fly Fishing for Golden Dorado in Bolivia
The name of the village Oromomo — the access point to the Pluma and Itirisama Rivers in Bolivia — means "Devil's Gold." Apparently, the elders who named the village felt that riches of the region were somehow cursed. But for fly fishers "Devil's Gold" reflects brightly, referring to golden dorado, one of the wildest of freshwater fish. Castaway Films spent a week on location shooting deep in the Bolivian jungle at Untamed Angling's Tsimane Lodge to capture this seven minutes of video, which is some of the best there is on dorado fishing.
Grant Wiswell, the film's producer, says of the video: "We came for Dorado, PERIOD. Ever since I watched an old Larry Dahlberg video on the subject, I haven't been able to get these magnificent fish off my mind. As it turns out, the Tsimane experience completely trumped anything I had previously seen or heard about the Golden Dorado. Not only are these fish numerous and willing, the warm water is clear as can be, which makes for fantastic fishing. I'd estimate that we sight-casted to at least 80 percent of the fish we caught."
Director and Producer: Grant Wiswell
Second Camera: Ryan Davis
Sponsors: Untamed Angling, Tsimane Lodge, Simms, Targus Fly and Feather, Rio Products, Smith Optics, Cliff Outdoors, AquaTech Underwater Imaging
Producer of Music: Nathan DeVore of David Vanacore Productions
Check out more videos from Grant Wiswell at CastawayFilms.com.
25:52
GESTALT - AWARENESS PART כותרות בעברית. גשטאלט - מודעות חלק 2 .HQ
HQ. GESTALT - AWARENESS PART גשטאלט - מודעות חלק 2
HEBREW SUBTITLES ADDED
כותרים בעברית
g...
published: 24 Aug 2011
author: franklyn wepner
GESTALT - AWARENESS PART כותרות בעברית. גשטאלט - מודעות חלק 2 .HQ
HQ. GESTALT - AWARENESS PART גשטאלט - מודעות חלק 2
HEBREW SUBTITLES ADDED
כותרים בעברית
gestalt therapy work on awareness with actress bel baca.
second part of "unguided awareness work", in which i
give bel feedback for the work she did in the first part.
part 3 begins the work on "guided awareness", where i closely supervise her work on awareness, and give instantaneous feedback as she goes along.
TO VIEW OR DOWNLOAD ALL OF MY VIDEOS, PLUS 1500 PAGES OF MY EXPLANATORY ESSAYS (ALL AT NO CHARGE) PLEASE VISIT MY WEBSITE: franklynwepner.com. ALSO PLEASE NOTE MY NEW EMAIL ADDRESS, IF YOU WOULD LIKE TO SHARE WITH ME ANY COMMENTS ABOUT MY WORK: fwep@earthlink.net. IN THE LISTING OF VIDEOS THE LETTERS (HQ) REFER TO A HIGHER QUALITY VERSION OF THE VIDEO, WHICH IS AVAILABLE TO YOU IF YOUR COMPUTER CAN HANDLE IT.
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
HOW I WORK: GESTALT DREAMWORK AS THEATER AND PROPHECY
GESTALT DREAM WORK AS PREPARATION FOR PERFORMING
Since 1975 I have been using Gestalt work on awareness, dreams and personal relationships as a way to train and direct performers. The basic principle is simple. I use the Gestalt work to peel the onion of layer after layer of social cliches, ego games and unfinished personal business, and then I do the reverse process reconstituting the onion in the form of characters or other artist structures. The existential message of the dream becomes the superobjective or action of the tragedy, and then I build up the way the performer handles the characters and the plot around that.
My usual procedure is to begin the training with three Gestalt sessions, one on one. The first session, two hours long, deals with the three zones of awareness. During the first hour I simply let him relate what he aware of, since I want to know how he operates before I start meddling with his life. This is important since overall during the Gestalt sessions we are peeling the onion of cliches and games to get to authentic action, and later we will need all of those layers to rebuild the onion as characters involved in the unfolding action of a drama. We need his cliche and game layers for the beginning of the action in Act One as much as we need his authentic action at the end of the dramatic action for Acts Four and Five of a tragic drama.
During the second hour of the first Gestalt session on awareness I attempt to guide him towards a balance of the zones of awareness: outer zone awareness of the environment, inner zone awareness of his body, and fantasy zone awareness of his daydreams. The second and third Gestalt sessions are each three hours long, and each is a typical Gestalt dreamwork session as presented by Fritz Perls in Gestalt Therapy Verbatim. The performer tells the dream in the here and now, identifies with (play acts) several of the main images of the dream in dialogues with each other, and experiences the rhythm of contact and withdrawal. That is to say, after each major dialogue of polarized sides of himself (the contact part) he is instructed to close his eyes, enter his body awareness and daydream (the withdrawal phase of the rhythm).
Since my goal is theater as well as healing, whenever possible during the Gestalt dreamwork I encourage lots of expression using sound and movements. I work with a palette of about 200 different types of recorded musical excerpts, and whenever appropriate I ask him if that image or emotional state were part of a movie what sort of music might be the sound track. Then I find something close to that in my palette of musical colors and ask him to express the mood using the music along with his vocalizing and expressive movements. While he is doing the entire session I spend most of my time jotting down near verbatim notes and making stick figures of his poses and movements, since later in the work I will feed all this back to him and encourage him to explore using it as creative material for acting, dance or whatever his medium is. Taping the session is less useful, since then I would need to spend too much time replaying the tapes. Taking notes live forces me to sort out the wheat from the chaff very efficiently, even at the cost of not observing or notating every detail.
WORKING OUT FROM YOUR CENTERS
After the three introductory one on one Gestalt sessions, session number four is for feedback and discussion of the results. I show him in my notes and diagrams all of the stages of competed and uncompleted actions, and together we search for characters in the theater literature that have similar patterns of action. Is he a Hamlet type, or an Oedipus type, for example? In contrast to the usual practice in acting classes, his first acting assignment probably will be a monologue from a serious tragedy, since I want him to begin with a dramatic action with which he can identify totally. In this process he is using
Youtube results:
2:56
Feather River Canyon Scenic Drive Northern California
Driving up the scenic Highway 70 in Northern California an a beautiful fall day. A popular...
published: 24 Oct 2008
author: HoneyBeeAutoTranspo
Feather River Canyon Scenic Drive Northern California
Driving up the scenic Highway 70 in Northern California an a beautiful fall day. A popular beautiful drive for siteseers and railfans alike.
- published: 24 Oct 2008
- views: 2294
- author: HoneyBeeAutoTranspo
3:41
Seon Ripley Feather River College 2012
Centre forward/ centre attacking midfield
Top goals and assists at feather river college 2...
published: 10 Feb 2013
Seon Ripley Feather River College 2012
Centre forward/ centre attacking midfield
Top goals and assists at feather river college 2012
GVC offensive player of the year 2012
snripley@frc.edu
- published: 10 Feb 2013
- views: 470
19:19
How to: Troll for California Delta Stripers - Feather River Striped Bass
3 camera angles were used to make this.. Here is a preview of FishinVideo.Com "How To Catc...
published: 01 Jun 2012
author: FishinVideos
How to: Troll for California Delta Stripers - Feather River Striped Bass
3 camera angles were used to make this.. Here is a preview of FishinVideo.Com "How To Catch More Fish Series"... filmed on the feather river with Bob Sparre ...
- published: 01 Jun 2012
- views: 1507
- author: FishinVideos