un-usuario-existencial-blog

[un-usuario-existencial-blog]

Otherworldly Landscape Photography by Dylan Furst Captures Kerouac’s Adventures On the Road

Seguir leyendo

[un-usuario-existencial-blog]

Politics I can get behind.

[un-usuario-existencial-blog]

New ARMS fighter, Lola Pop (video)

[un-usuario-existencial-blog]

Exclusive first look at Misty Knight sporting her bionic arm in Luke Cage Season 2

[un-usuario-existencial-blog]

When Twitter comes through. (Read the original story here.)

[un-usuario-existencial-blog]

Ahem … I spoke too soon

[un-usuario-existencial-blog]

[un-usuario-existencial-blog]

That left leg tho

[un-usuario-existencial-blog]

I ment sushi

fishy boys

[un-usuario-existencial-blog]

Wowfulls

[un-usuario-existencial-blog]

How to dress in a new school bc its sixth form so you should have your shit together but I want to express and I don't want to look allistic because I'm scared people won't take me seriously if I don't "look" autistic. Are there any sort of subtle ways of "looking" autistic without resorting to stereotypes or feeling uncomfortable bc I'm self+informal dx so it's bad enough some people won't believe me... Also I don't want to stand out too much more than I already do but?? Help?

hey i feel u here! im gonna give a few ideas, but hopefully some followers will have some advice! (i’m ill and go back to sixth form tomorrow so im fairly low on spoons)

dress in whatever makes u feel comfortable. like seriously, if you feel hot/cute/comfy, you’re gonna be way more confident in making friends and settling in

staff probably won’t be too concerned with whether you “look” autistic or not, sixth forms are big and they’ve usually seen loads of autistic people through their time, yknow? they won’t be expecting to see just a stereotype. (one of the first things my LSA said to me was “i’ve seen all sorts of autistic people come through here. right from getting As and A*s, to Us and Es. some people have been practically social butterflies, others have really struggled with that stuff. the only thing that’s important to me is working out how to help you as an individual so you can get the best out of these two years”) they also can help u get a formal dx if u want it, and loads of places dont even see that as a requirement

patches are a good way of subtly showing pride about it (i have a #redinstead, a “not your fucking puzzle piece”, and a “changeling pride” patch that i’ll wear around college if i ever get around to sewing them on)

stimming in public, toe walking (not too much though bc thats actually rly bad for you), raptor hands, etc are also Very Good Things that give u a ND vibe w/o being rly obvious 

on that thought, keep ur stim toys in the open if u want. i often walk around college with a tangle out. i get anxious about it but no one really cares tbh

some outfits are more stereotypically autie, like trackies and a t-shirt (bc theyre more comfortable for some people’s sensory issues). ear defenders are also quite an obvious sign. depends on who’s looking i guess?

however you dress, you’ll probably end up giving off a Vibe. i was completely unaware i gave off a vibe until like a week ago. for some people, it’s fairly obvious. for others, it’s only obvious if someone’s looking for it. but the people who are looking for (other) autistic people usually pick up on it

that’s all ive got for now, but like i said, hopefully followers will have some ideas. i’m starting upper sixth tomorrow, so if you want to DM me (or ask off anon and i’ll give you my personal) for more advice or just someone to talk to who knows the systems, im happy to be there

good luck, friend, i hope college is a great place for you!!

[un-usuario-existencial-blog]

this is now a complete adult lunchable

[un-usuario-existencial-blog]

investigación académica

Al igual que ocurre con cualquier investigación académica, la onomástica depende fundamentalmente del apoyo financiero para poder desarrollarse. La recogida y el análisis de datos, el trabajo de campo y la diseminación de los resultados cada vez son más caros, al igual que la organización de grandes conferencias. Resultó alentador oír informes sobre proyectos financiados de diferentes áreas del estudio de los nombres en el congreso de Barcelona, ​​y aún más comprobar el apoyo generoso que la Generalidad de Cataluña ofreció en el Congreso. Un aspecto importante de las actas de ICOS trienal es que son un testimonio del estado de salud de esta disciplina. Además, ofrecen pruebas claras y incontrovertibles de que vale la pena apoyarlo. El éxito del Congreso de Barcelona se debió en gran parte a los esfuerzos del Comité Organizador, que también ha sido responsable de organizar esta publicación. Las actas reflejan el alcance ambicioso y los estándares elevados del Congreso.

Es un gran placer darles la bienvenida y felicitar a los editores para su publicación diligente. Carole Hough Presidenta del Consejo Internacional de Ciencias Onomásticas Introducción

Las Actas del XXIV Congreso Internacional de ICOS sobre Ciencias Onomásticas se presentan como documento de referencia del evento a que aluden, el cual tuvo lugar en Barcelona del 5 al 9 de septiembre de 2011. La Generalidad de Cataluña, la Universidad de Barcelona y el International Council of Onomástico Sciences (ICOS) fueron los promotores del Congreso. En la organización del acto, que se desarrolló principalmente en la Facultad de Filología de la Universidad de Barcelona, ​​participaron también la Comisión de Toponimia de Cataluña, el Instituto de Estudios Catalanes, el Instituto Cartográfico de Cataluña, la Sociedad de Onomástica y la misma universidad. El Congreso tuvo también la adhesión de hasta cuarenta y una entidades científicas y académicas vinculadas al mundo de la onomástica (universidades, academias de la lengua, asociaciones profesionales y otros organismos). El libro de actas que presentamos es una publicación digital constituida por un volumen con un anexo que recoge de manera ordenada y fácilmente consultable todas las comunicaciones. La publicación forma parte de la colección «Biblioteca Técnica de Política Lingüística», de la Dirección General de Política Lingüística, organismo que preside la Comisión de Toponimia de Cataluña.

El primer volumen del libro de actas recoge las dos conferencias plenarias, los resúmenes de las mesas redondas y la presentación y síntesis de cada una de las doce secciones en que se estructuró el Congreso. Hay que decir, en relación con este último punto, que se publican los textos originales de las presentaciones de cada sección para mantener intactos los objetivos que el Comité Científico se había fijado inicialmente. Los textos de síntesis, en cambio, y como es obvio, se han elaborado a posteriori y pretenden ayudar al lector a valorar el grado de cumplimiento de aquellos propósitos iniciales.

[un-usuario-existencial-blog]

Guillermo del Toro’s highly personal monster film ‘The Shape of Water’ speaks to 'what I feel as an immigrant’

Throughout his career, Guillermo del Toro has bounced between large-scale studio films like “Pacific Rim” and “Hellboy” and smaller, more idiosyncratic ones, like “Pan’s Labyrinth” and “The Devil’s Backbone.” His latest movie, “The Shape of Water” — the story of a mute janitor (Sally Hawkins) who falls in love with an aquatic humanoid creature being held captive in a secret government laboratory during the Cold War — is, perhaps needless to say, one of the latter. It’s also being hailed as one of his best.

Building on the raves it earned in its premiere at the Venice Film Festival, the movie — a fable of improbable love in the face of fear and intolerance — drew cheers at its first North American screening Saturday at the Telluride Film Festival. It will play the Toronto International Film Festival next, before opening Dec. 8, in the thick of awards season.

The morning after the Telluride bow, The Times sat down with del Toro to talk about what inspired his surreal adult fairy tale and why its fantastical, period-set beauty-and-the-beast story is all too relevant in today’s real world.

* * *

Your friend and fellow director Alejandro Iñárritu has said that he thinks “The Shape of Water” is your most personal movie. Do you agree?

It’s the movie that I like the most. It’s this one, then “The Devil’s Backbone,” then “Pan’s Labyrinth,” then “Crimson Peak,” and so on and so forth. That’s the order for me — it doesn’t mean people have to agree. It’s sort of the aim-and-target quotient for a filmmaker — did it land where I wanted it? This landed exactly where I wanted it.

But “most personal” also suggests that, of all the films you’ve done, there’s the most of you in this one.

There is the most of me. Most of the time — in “Pan’s Labyrinth” or “Devil’s Backbone” — I’m talking about my childhood. Here, I’m talking about me with adult concerns. Cinema. Love. The idea of otherness being seen as the enemy. What I feel as an immigrant. What I feel is an ugly undercurrent not in the past — not in the origins of fascism — but now.

It is a movie that talks about the present for me. Even if it’s set in 1962, it talks about me now.

That era is often depicted through a nostalgic prism as somehow being the good old days. But this movie paints a very different picture, bringing out the undercurrent of fear and intolerance.

I think when people say “Make America Great Again,” they’re thinking of that America, which actually never ended up really crystallizing. If you were a white Anglo-Saxon Protestant, then things were great. You had jet-fin cars, super-fast kitchens. But everyone else didn’t have it so good. And the creature sort of represents everybody else.

Obviously the world has changed dramatically since you were shooting this film. I can’t imagine you could anticipate the way those themes would resonate …

I did. And the reason why is that I’m Mexican. I’ve been going through immigration all my life, and I’ve been stopped for traffic violations by cops and they get much more curious about me than the regular guy. The moment they hear my accent, things get a little deeper.

I know it sounds kind of glib, but honestly, what we are living I saw brewing through the Obama era and the Clinton era. It was there. The fact that we got diagnosed with a tumor doesn’t mean the cancer started now.

Hopefully one of the things the movie shows is that from 1962 to now, we’ve taken baby steps — and a lot of them not everyone takes. The thing that is inherent in social control is fear. The way they control a population is by pointing at somebody else — whether they’re gay, Mexican, Jewish, black — and saying, “They are different than you. They’re the reason you’re in the shape you’re in. You’re not responsible.” And when they exonerate you through vilifying and demonizing someone else, they control you.

I think the movie says that there are so many more reasons to love than to hate. I know you sound a lot smarter when you’re skeptical and a cynic, but I don’t care.

Going back to the beginning, what was the initial germ of this movie?

I’ve had this movie in my head since I was 6, not as a story but as an idea. When I saw the creature swimming under Julie Adams [in 1954’s “The Creature from the Black Lagoon”], I thought three things: I thought, “Hubba-hubba.” I thought, “This is the most poetic thing I’ll ever see.” I was overwhelmed by the beauty. And the third thing I thought is, “I hope they end up together.”

I kind of doubt that’s what most 6-year-olds were thinking.

No, I’m a weird one.

Is there part of you that feels like, as soon as there’s a monster or any fantasy or genre element in a movie, it automatically gets put in a box and isn’t taken seriously?

Oh, for sure. But that would be important if I cared — but I don’t.

Look, I’ve been doing this for 25 years. If I thought it was not the route to go, I would have changed. To me, the genre is my Campbell’s Soup can if I was [Andy] Warhol, or my comic book vignette if I was [Roy] Lichtenstein.

We forget that the primal motor of storytelling is fable and parable. I don’t come at it from an illiterate or a pop point of view. I come at it with every literary tool I can, every artistic tool I can. I truly try to create beauty and reflection and all of that as conscientiously and judiciously and minutely as I can. And then it’s up to people.

But you’re not on a mission to change the way people see genre?

No, I can’t. I know that what I saw when I was a kid had redemptive powers. Some people find Jesus. I found Frankenstein. And the reason I’m alive and articulate and semi-sane is monsters. It’s not an affectation. It’s completely spiritually real to me. And I’m not going to change.

This movie has a real spirit of innocence and old-fashioned romance, but at the same time, there are aspects that are very adult and sometimes jarring. The first time we see Sally Hawkins’ character, for example, she is masturbating.

Well, to me, there is no perversion in sex if you’re not perverse. You can do whatever you want and as long as you do it in the most beautiful way, it doesn’t matter. A woman masturbating makes it clear to you that this is not your regular Disney princess.

The movie is in love with love and in love with cinema. Sex, violence — whatever it is — the spirit of the movie is so gentle. I wouldn’t recommend it for kids, but for adolescents, it’s a beautiful movie. It’s sort of liberating.

And because you were making it on a budget of under $20 million, no one told you, “Let’s make this safer and more broadly appealing”?

Never. That was the point. The reason why the exercise of cramming a $60-million movie into a $19.5-million budget is worth it is that you get the freedom. I think that money takes freedom away. More money, less freedom.

So as you go on, are you finding yourself pulled more away from the part of the business where there are those kinds of money pressures? If you were approached to direct a tentpole that had to be a huge, four-quadrant blockbuster, like a mainstream superhero movie or a Star Wars movie …

If I choose a franchise of that size, I try to make sure that we’re aligned — and if we’re not, I walk away.

I have been offered massive stuff, and I’ve turned it down. Why? Because, A, I live a very sort of simple life. I dress like [garbage], I drive a 4-year-old car, I spend all my money on rubber monsters. So I’m OK [laughs]. And also I have this idea that if you do movies for any other reason than the stories, you’re screwed. It means something just gave in.

Photographs:

Sally Hawkins, left, and Octavia Spencer

Sally Hawkins is Eliza Esposito

Michael Shannon portrays Strickland and Michael Stuhlbarg is Hoffstetler

[un-usuario-existencial-blog]

[un-usuario-existencial-blog]

Gene Tierney in Dragonwyck (1946)

[un-usuario-existencial-blog]