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PEP-Easy Tip: To save PEP-Easy to the home screen

PEP-Web Tip of the Day

To start PEP-Easy without first opening your browser–just as you would start a mobile app, you can save a shortcut to your home screen.

First, in Chrome or Safari, depending on your platform, open PEP-Easy from You want to be on the default start screen, so you have a clean workspace.

Then, depending on your mobile device…follow the instructions below:


  1. Tap on the share icon Action navigation bar and tab bar icon
  2. In the bottom list, tap on ‘Add to home screen’
  3. In the “Add to Home” confirmation “bubble”, tap “Add”

On Android:

  1. Tap on the Chrome menu (Vertical Ellipses)
  2. Select “Add to Home Screen” from the menu


For the complete list of tips, see PEP-Web Tips on the PEP-Web support page.

Silen, P. (2019). Letter from the Editor. Fort Da, 25(2):1-3.

(2019). Fort Da, 25(2):1-3

Letter from the Editor

Peter Silen, Ph.D.

Freud compared psychoanalysis with a journey in a railway carriage, equating emerging free associations with the reveries that naturally come while gazing out the window at the passing landscape. He wrote this in 1913, but the psychological experience of being in motion and in a protected space, observing inside and outside simultaneously, also describes our modern-day experience.

The ritual of the family Sunday drive, traveling together at a relaxed pace with no particular destination, offers a similar psychological journey. I can remember the comfort and safety of riding in the car at night, being driven and looked after by one of my parents, half interested in the shadowy views flashing by, enjoying the easy movement of ideas passing back and forth in the darkness.

While I was experiencing my family car as a safe and psychologically evocative physical space, Andy Warhol was putting together his Death and Disaster series — silk-screened images, sourced from newspapers and police photo archives, of mangled cars and mangled bodies connected together unnaturally. Not the usual Warholian commentary on mass-produced objects or symbols of consumer affluence, these images bring to mind the gritty voyeurism of the photographer Weegee, who, decades earlier, photographed murder victims for tabloid publications, sometimes just moments after the event. Warhol's pieces are oddly serene and still, with the kicked-up dust and hushed silence of a collision only just come to rest. The image reads more like an unfolding event than a static snapshot. As my initial shock of the destruction in front of me begins to dissipate, the aftermath of chaos, mayhem, pity, and fear emerges.

One photo stands out — a dead medical attendant, lying prone, half in and half out of his wrecked ambulance. It witnesses the death of the rescuer, the possibility that no one is there to respond to our distress. We are pushed across a psychic threshold when the illusion that things are under our control gets ruptured.

[This is a summary or excerpt from the full text of the article. PEP-Web provides full-text search of the complete articles for current and archive content, but only the abstracts are displayed for current content, due to contractual obligations with the journal publishers. For details on how to read the full text of 2017 and more current articles see the publishers official website here.]

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