THE ADORABLE PROD is a beautiful collection of three romantic and women-oriented stories that portray love and women's strength. Women are the epitome of strength, love, tolerance, and patience. They may be fragile physically, but they are headstrong and rigid regarding what they believe. When she is loved and respected, she surrenders the entire world to the one who loves her. At the same time, if she is treated with hatred, and disrespect she can destroy the entire world. Similarly, love is a pure and unique feeling. Love makes life magical and beautiful. But when love changes to lust, it loses its meaning and becomes toxic. One can sacrifice life in love, but it is the most dangerous thing when done for some selfish reason. This book amazingly describes these feelings which three most bold, beautiful, and amazing women underwent. It defines how they deal with a difficult situation and how they emerge as the winners.

An impassioned philosophical celebration of the multiple dimensions of contemporary cuteness. Involuntarily sucked into the forcefield of Cute, Amy Ireland and Maya B. Kronic decided to let go, give in, let the demon ride them, and make an accelerationism out of it—only to realize that Cute opens a microcosmic gate onto the transcendental process of acceleration itself. Joining the swarming e-girls, t-girls, NEETS, anons, and otaku who rescued accelerationism from the double pincers of media panic and academic buzzkill by introducing it to big eyes, fluffy ears, programming socks, and silly memes, they discover that the objects of cute culture are just spinoffs of an accelerative process booping us from the future, rendering us all submissive, breedable, helpless, and cute in our turn. Cute comes tomorrow, and only anastrophe can make sense of what it will have been doing to us. Evading all discipline, sliding across all possible surfaces, Cute Accelerationism embraces every detail of the symptomatology, aetiology, epidemiology, history, biology, etymology, topology, and even embryology of Cute, joyfully burrowing down into its natural, cultural, sensory, sexual, subjective, erotic, and semiotic dimensions in order to sound out the latent spaces of this Thing that has soft-soaped its way into human culture. Traversing tangents on natural and unnatural selection, runaway supernormalisation, the collective self-transformation of genderswarming cuties, the hyperstitional cultures of shojo and otaku, denpa and 2D love, and the cute subworlds of aegyo and meng, moé and flatmaxxing, catboys and dogon eggs, bobbles and gummies, vore machines and partial objects, BwOs and UwUs…glomping, snuggling, smooshing and squeeeeing their way toward the event horizon of Cute, donning cat ears and popping bubbles as they go, in this untimely philosophical intensification of an omnipresent phenomenon, having surrendered to the squishiest demonic possession, like, ever, two bffs set out in search of the transcendental shape of cuteness only to realize that, even though it is all around us, we do not yet know what Cute can do. Seriously superficial and bafflingly coherent, half erudite philosophical treatise, half dariacore mashup, 100 percent cutagion, this compact lil’ textual machine is a meltdown and a glow up, as well as a twizzled homage to Deleuze and Guattari’s A Thousand Plateaus. Welcome to the kawaiizome: nothing uncute makes it out of the near future, and the cute will very soon no longer be even remotely human.

This two-volume set LNCS 12192 and 12193 constitutes the refereed proceedings of the 12th International Conference on Cross-Cultural Design, CCD 2020, held as part of HCI International 2020 in Copenhagen, Denmark in July 2020.The conference was held virtually due to the corona pandemic. The total of 1439 papers and 238 posters included in the 40 HCII 2020 proceedings volumes was carefully reviewed and selected from 6326 submissions. The regular papers of Cross-Cultural Design CCD 2020 presented in this volume were organized in topical sections named: Cross-Cultural User Experience Design; Culture-Based Design, Cross-Cultural Behaviour and Attitude, and Cultural Facets of Interactions with Autonomous Agents and Intelligent Environments.

The author of Sewing to Sell shares secrets from industry experts on growing your craft business—with 16 new projects you can make and sell! Making the leap from sewing enthusiast to entrepreneur is a major accomplishment—but many new professionals find themselves facing all new challenges and questions. In More Sewing to Sell, Virginia Lindsay helps readers take their handmade business to a truly professional level with practical advice from industry experts. This hands-on guide to the sewing business includes sixteen new sewing patterns—all copyright- and royalty-free—ready to customize for craft fairs or online shops, with suggested price points included. With More Sewing to Sell, you’ll make the most of your business’s fabric, time, and resources!

A consumer's reference to green living counsels readers on how to identify truly eco-friendly products and includes reviews and advice for everything from home furnishings and appliances to toys and clothing. Original.

Cuteness is one of the most culturally pervasive aesthetics of the new millennium and its rapid social proliferation suggests that the affective responses it provokes find particular purchase in a contemporary era marked by intensive media saturation and spreading economic precarity. Rejecting superficial assessments that would deem the ever-expanding plethora of cute texts trivial, The Aesthetics and Affects of Cuteness directs serious scholarly attention from a variety of academic disciplines to this ubiquitous phenomenon. The sheer plasticity of this minor aesthetic is vividly on display in this collection which draws together analyses from around the world examining cuteness’s fundamental role in cultural expressions stemming from such diverse sources as military cultures, high-end contemporary art worlds, and animal shelters. Pushing beyond prevailing understandings that associate cuteness solely with childhood or which posit an interpolated parental bond as its primary affective attachment, the essays in this collection variously draw connections between cuteness and the social, political, economic, and technological conditions of the early twenty-first century and in doing so generate fresh understandings of the central role cuteness plays in the recalibration of contemporary subjectivities.