A brilliant one by Amanda Palmer and her man Neil Gaiman!
segunda-feira, 19 de abril de 2010
sexta-feira, 16 de abril de 2010
The proof for Quantum mechanics
Compton Scattering
-Electron bound to nucleus
-A photon comes in and interacts with the electron
-The electron is going to be forced to vibrate due to the force
-Radiation will be emitted at the same frequency as the emitted wave
(from my roomate's notes)
Let your poetical interpretations flow.....
-Electron bound to nucleus
-A photon comes in and interacts with the electron
-The electron is going to be forced to vibrate due to the force
-Radiation will be emitted at the same frequency as the emitted wave
(from my roomate's notes)
Let your poetical interpretations flow.....
segunda-feira, 5 de abril de 2010
Animalistic
I have lately come across this word, this interjection, this brief and succinct argument: "animalistic". What I say, what I propose, what I do: it is not wrong, but it is"animalistic". It is low, inappropriate, it is unnecessary and uncontrolled. It is "animalistic".
This makes no sense to me, this disapproval. What is this "animalistic" argument? It seems the only way to get around it is to start off by saying we should not be animals, not act like "animals", "savages", "inhuman" they say. We can not behave like other animals. Because we are different – we have different natural adaptations, one being community-life, other being culture. But we share so much, most of our attitudes and behaviors. I am an ape, a primate, a mammal, an animal. And is it not proper it be so? What should I be if I did not have an urge to eat, drink, be with those I am attracted to, stay alive, stay safe, and protect my kin? What should I be if I was not "animalistic"?
What should I be in this world? What would be my context, my reason for my being here on earth, if I was not "animalistic"? I would be so disconnected from every life form on this planet, I would feel so utterly meaningless… My fellow human beings are not enough. I need to feel I belong here, on this soil. And I do. I am like the ant I see on the garden, I am somehow like the ant. I am part of a far greater biological context. I feel at home, like this, "animalistic". No moral code that takes this away from us, this connection, this meaning, is legitimate. It aims at creating a vacuum, emptiness inside our minds without anything being particularly problematic about what we had! It is then that all those other "searches for fundamental meaning" come into scene, all the postulation of entities and supernatural forces at work. We are not simply searching for profound meaning then, we need to search for the most basic one! Because we are basically lost, because we are like a fish outside of water, a child taken away from home.
This makes no sense to me, this disapproval. What is this "animalistic" argument? It seems the only way to get around it is to start off by saying we should not be animals, not act like "animals", "savages", "inhuman" they say. We can not behave like other animals. Because we are different – we have different natural adaptations, one being community-life, other being culture. But we share so much, most of our attitudes and behaviors. I am an ape, a primate, a mammal, an animal. And is it not proper it be so? What should I be if I did not have an urge to eat, drink, be with those I am attracted to, stay alive, stay safe, and protect my kin? What should I be if I was not "animalistic"?
What should I be in this world? What would be my context, my reason for my being here on earth, if I was not "animalistic"? I would be so disconnected from every life form on this planet, I would feel so utterly meaningless… My fellow human beings are not enough. I need to feel I belong here, on this soil. And I do. I am like the ant I see on the garden, I am somehow like the ant. I am part of a far greater biological context. I feel at home, like this, "animalistic". No moral code that takes this away from us, this connection, this meaning, is legitimate. It aims at creating a vacuum, emptiness inside our minds without anything being particularly problematic about what we had! It is then that all those other "searches for fundamental meaning" come into scene, all the postulation of entities and supernatural forces at work. We are not simply searching for profound meaning then, we need to search for the most basic one! Because we are basically lost, because we are like a fish outside of water, a child taken away from home.
We are stardust, million year old carbon, we are golden. And we’ve got to get ourselves back to the garden.
"Crazy on You" - The song I can't get out of my head
My little 70's obsession for 3 days now....
The Scene (Virgin Suicides by Sofia Coppola, 1999)
The band (Heart, from Vancouver B.C., very popular in the mid 70's)
The song
People sometimes write really catchy stuf....
The Scene (Virgin Suicides by Sofia Coppola, 1999)
The band (Heart, from Vancouver B.C., very popular in the mid 70's)
The song
People sometimes write really catchy stuf....
sexta-feira, 2 de abril de 2010
Movies I've seen lately
This is the compilation of many posts that were planned and put aside lately. But, I like what I have been watching: I am riding a wave of cinemat
ographic luck, and it is worth celebrating
Annie Hall (1977, Woddy Allen)
Woddy Allen. I never thought it could be so good. Specially after "Bananas" I thought: he doesn0t get better than this. But yes, he does. profound conclusions about everyday life, hilarious scenes, great dialogues, characters and just that unpredictability that runs thorugh the whole movie. Yes, unpredictable, that is the feeling. His creation of unreal/surreal/meta-real situations out of an ordinary story plot are brilliant. I just laughed and laughed untill the last minute.
Careful (1992, Guy Maddin)
"Brilliant movie. It is really strange too." And with this comment by the man on the counter I left with Guy Maddin's "Careful". It was so good that I want to watch all his movies I can possibly find - fantastic Canadian cinema! The film is a dark and twisted tale of repressed sexuality, Oedipus and Electra complexes and sibling rivalry in a surreal Alpine mountain. The aesthetics of it are remarkable: made as a 1920's movie, with a perfect mastery of colour effects and those great narrated written pieces. It reminded me a bit of "Nosferatu" at points and, I must say, it is ambitious in wanting to captivate a modern audience with "retro" technology. The thing is: it does capture you, completely, in a weird and yet fascinating web of silences and looks.
Central Station - Central do Brasil (1998, Walter Salles)
On the back of the DVD cover this was described as a "powerful tearjerker". I beg to disagree. Yes, it might excite a tear or two and a knot in your throat. But the movie is so much more than that. The characters are much more complex than what the synopsis could make you forsee. It is a story about second chances, about a boy alone in the world and a woman looking for a second chance at her own life. But neither are ready to admit this to themselves or each other. So a trip across the stunning interior of Brazil transforms itself into a subtle journey into each other's deepest fears, desires, and a rethinking of what each wants out of life. A surprising sequence of events and a powerful soundtrack. This is an example of how to take an ordinary story and make it an extraordinary movie.
Klimt (2006, Raoul Ruiz)
This was probably the exception to the list of sucessful viewings of this month. I had expectations: after all, I love the work of Gustav Klimt and I thought John Malkovich playing him would be tremendous. It would... if only I had managed to stay focused. It was really difficult. The movie is confusing on purpose, I understand. Surrealism is at work here, as far as I know. But I think the idea went too far: I feel lost! Very lost, too lost. Besides, the aesthetic exploration of the work of Klimt was good in certain scenes, but disappointed me in many ways. The end had a "revelatory moment" in which the audience was supposed to realise what they had been watching and its deeper meaning. My opinion: too late, too obscure. Unfortunate, really. And it was not Malkovich at his best, I must say. One great note: the mother-and-sister-madness-scene was very good.
The Piano (1993, Jane Campion)
Haunting and beautiful. The Piano is probably one of the most engaging movies emotionally that I have seen. I had never screamed out of pain and terror, cried of joy and sat there mesmerized like I did with The Piano. The movie tells the story of a deaf young Scottish woman sent to marry in the dark forests of New Zealand. Her passion is her piano, which she transports all the way to the deserted beach where she lands. Against all odds and appearances, a love story emerges. New Zealand, with its mud and darkness is a most beautifuly crafted setting. The music is key to this movie and is moving to a degree that is rarely seen. The themes of colonialism, marriage, love and communication between human beings and are treated in a subtle and sensitive way. The Piano has an emotional force that is remarkable and a magic quality that cannot be easily explained.
ographic luck, and it is worth celebrating
Annie Hall (1977, Woddy Allen)
Woddy Allen. I never thought it could be so good. Specially after "Bananas" I thought: he doesn0t get better than this. But yes, he does. profound conclusions about everyday life, hilarious scenes, great dialogues, characters and just that unpredictability that runs thorugh the whole movie. Yes, unpredictable, that is the feeling. His creation of unreal/surreal/meta-real situations out of an ordinary story plot are brilliant. I just laughed and laughed untill the last minute.
Careful (1992, Guy Maddin)
"Brilliant movie. It is really strange too." And with this comment by the man on the counter I left with Guy Maddin's "Careful". It was so good that I want to watch all his movies I can possibly find - fantastic Canadian cinema! The film is a dark and twisted tale of repressed sexuality, Oedipus and Electra complexes and sibling rivalry in a surreal Alpine mountain. The aesthetics of it are remarkable: made as a 1920's movie, with a perfect mastery of colour effects and those great narrated written pieces. It reminded me a bit of "Nosferatu" at points and, I must say, it is ambitious in wanting to captivate a modern audience with "retro" technology. The thing is: it does capture you, completely, in a weird and yet fascinating web of silences and looks.
Central Station - Central do Brasil (1998, Walter Salles)
On the back of the DVD cover this was described as a "powerful tearjerker". I beg to disagree. Yes, it might excite a tear or two and a knot in your throat. But the movie is so much more than that. The characters are much more complex than what the synopsis could make you forsee. It is a story about second chances, about a boy alone in the world and a woman looking for a second chance at her own life. But neither are ready to admit this to themselves or each other. So a trip across the stunning interior of Brazil transforms itself into a subtle journey into each other's deepest fears, desires, and a rethinking of what each wants out of life. A surprising sequence of events and a powerful soundtrack. This is an example of how to take an ordinary story and make it an extraordinary movie.Klimt (2006, Raoul Ruiz)
This was probably the exception to the list of sucessful viewings of this month. I had expectations: after all, I love the work of Gustav Klimt and I thought John Malkovich playing him would be tremendous. It would... if only I had managed to stay focused. It was really difficult. The movie is confusing on purpose, I understand. Surrealism is at work here, as far as I know. But I think the idea went too far: I feel lost! Very lost, too lost. Besides, the aesthetic exploration of the work of Klimt was good in certain scenes, but disappointed me in many ways. The end had a "revelatory moment" in which the audience was supposed to realise what they had been watching and its deeper meaning. My opinion: too late, too obscure. Unfortunate, really. And it was not Malkovich at his best, I must say. One great note: the mother-and-sister-madness-scene was very good.
The Piano (1993, Jane Campion)
Haunting and beautiful. The Piano is probably one of the most engaging movies emotionally that I have seen. I had never screamed out of pain and terror, cried of joy and sat there mesmerized like I did with The Piano. The movie tells the story of a deaf young Scottish woman sent to marry in the dark forests of New Zealand. Her passion is her piano, which she transports all the way to the deserted beach where she lands. Against all odds and appearances, a love story emerges. New Zealand, with its mud and darkness is a most beautifuly crafted setting. The music is key to this movie and is moving to a degree that is rarely seen. The themes of colonialism, marriage, love and communication between human beings and are treated in a subtle and sensitive way. The Piano has an emotional force that is remarkable and a magic quality that cannot be easily explained.The Society for the Prevention of Cruelty to Long-haired Men
At the age of 17 the young Prophet had a revelation. And around him he gathered his followers and said, on the modern temple of television, "Thou shall not be cruel to long-haired men for theirs is the kingdom of rock'n roll."
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