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mypearchive · 3 years

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PHILIP ETTINGER  in HBO Series I Know This Much Is True

 PHOTOGRAPHY Mark Squires FASHION EDITOR Deborah Ferguson  Interview by Sydney Nash

 Philip Ettinger is an American actor, whose credits include starring alongside Ethan Hawke and Amanda Seyfried in “First Reformed” and “The Evening Hour,” which debuted at this year’s Sundance Film Festival. Ettinger’s most recent project is HBO’s “I Know This Much is True,” helmed by director Derek Cianfrance and starring Mark Ruffalo. Based on Wally Lamb’s acclaimed novel by the same name, it tells the story of the complicated relationship of two brothers (twins), one of which lives with paranoid schizophrenia. Ruffalo stars as the older iteration of the twins, while Ettinger inhabits the two characters in their youth. ContentMode spoke to the actor about the limited series and arguably, his best performance yet.

 Q: Before we dive into questions about I Know This Much Is True, I must first say, bravo. This show is visceral, heart-wrenching, and achingly beautiful. It was a very emotional experience watching, I must say. I’m curious as to the type of feedback you’ve been hearing from viewers and the people around you about the show.

 A: Thanks for saying that. This project is so close to my heart. It felt super emotional shooting it… it’s been really special. You know we’re going through such a fucking crazy time right now. You make a thing and have that whole experience of shooting it, and then you never really know how it might connect in the time of when it’s finally released. When I’m working on something, I’m so much in the state of not even thinking of it as being a product. Then, when it’s time for it to come out, it’s a bit of a mind fuck and scary. And this in particular was such a vulnerable experience. Everyone gave so much of their heart to it. It’s being released in a really crazy and heavy time, and the show deals with a lot of real and heavy things. But what’s been amazing is the people who have reached out to me to tell me how important it’s been to them. And how much of an emotional balm it’s been. People have vulnerably shared with me how this show has made them feel less alone in their own unique situations and emotions. Honestly, it’s been fucking beautiful to see how much we all can relate and share in the really difficult work of being a human being.

 We’re all connected. It’s been a nice reminder for me personally in this isolating time of quarantine.

 Q: Tell me about how this role came about. I know you’ve been a long admirer of Mark Ruffalo’s work, so this must have been a dream project.

 A: The whole thing just feels kind of kismet. One day, I get a random email from a friend of mine who was going in to audition for young Dessa (younger Kathryn Hahn). This was before I really knew anything about it. She forwarded me her appointment with the script and said, “You should be young Dominick/Thomas.” All of young Dessa’s scenes were with young Dominick/Thomas, so I was able to see what it was like.

 I’ve always looked up to Mark and have been compared to him in the past. I even wrote him a letter when I was in acting school and doing This Is Our Youth, which was the play he did in New York, and I expressed to him how much I connect to his work. He was doing Awake and Sing! on Broadway at the time and I went to see the play and gave him the letter. On top of that, I grew up with a brother who dealt with schizophrenic symptoms. I felt a really strong purpose to tell this story as real and accurately as possible. It’s rare when it happens, but sometimes things come along where it’s much deeper than it just being a job. The purpose for doing it is so strong and instinctual that I’m able to move through any fears or insecurities to do it. I went into this audition with a really strong sense that I was the person who was meant to help tell this story.

 Q: Did you and Mark ever prep for the role together? I’ve read that you and him took a long walk around the Upper West Side before shooting started.

 A: Yeah we did. The way it worked was Mark shot all of Dominick first and then took a month and a half off to gain about 50 pounds in order to play Thomas. During that time off is when I shot most of my stuff. We would text back and forth with ideas and before shooting began we hung out and read each other’s scenes together. Then Mark went off to shoot his Dominick side. Derek Cianfrance our director showed me a bunch of Mark’s dailies for me to kind of get a sense of what Mark was doing with Dominick, but when it came to Thomas, I was the first one to introduce what he’d be like. It was fucking scary because I wanted to be as instinctual as possible and to make my own unique choices. At the same time, I didn’t want to paint Mark into a corner because he’d have to evolve whatever I was doing into older Thomas.

About a week before I went to shoot, I met Mark on the Upper West Side at a diner. We talked for hours. I had been waiting in the wings for months, getting ready to take over when he took his break. I can be a pretty obsessive thinker, so at that point, I was pretty much bursting holding these two distinctly different characters inside of me, ready to express myself and let my Dominick and Thomas out. At the same time, I was absolutely terrified because the thing I’d been obsessing about and literally having intense symbolic dreams about was finally going to happen. Mark encouraged me to make it my own, and on the way out of the diner, I started to tell him about these crazy and intense dreams I was having that were kind of informing me who these guys were. He said, “I’ve been having dreams too. Let’s take a walk,” and then we just walked like 50 city blocks. We were just meshing our energies, ideas and physicalities, as well as sharing stories and quickly connecting on a really vulnerable level to each other. We were having very similar dreams. It was crazy and beautiful and a night I’ll always remember. Talking about it now makes me yearn to get back into more collaborative experiences again.

 Q: If you don’t mind me asking, how emotionally intense was performing the roles of both Dominick and Thomas? Did you find one character more challenging than the other and were you able to separate the two performances, or were they always informing the other?

A: It’s hard to really describe it using words. The whole thing was one big instinctual and emotional experiment. It was kind of impossible to anticipate the best way to make it all work.

First day was completely trial and error. Mark shot each character separately with a lot of time apart, but I was having to do every scene going back and forth. The whole thing was very out of body and cathartic. Or more like in my body and out of my head.

 It’s interesting, I’ve been doing therapy in quarantine and have worked a bit with childhood regression exercises and going back to a time when I was four or five. I’ll go back on impulse and really connect to the feelings I was feeling without too much awareness of social rules and insecurities and ideas of how I needed to be and act. Then, doing the same thing, but going back to the thirteen year old version of me, who at that point had been knocked around a bit and was very insecure and shut down and scared and had less trust and freedom of emotion. Both of them are very alive inside of me. Shooting every scene, I’d be Dominick and feel really repressed and kind of locked up and angry and insecure in my feelings. Then when I’d switch over to Thomas, I got to rip off the shield and filter that I’ve created to personally protect myself in my life and just feel my feelings and pain and fear and anger and fully be on my impulse in a safe environment. It was freeing and painful and blissful, and all of the feelings. I gave myself permission not to judge myself. Then, I’d go back into Dominick and the shield went back up. It was a lot of back and forth of that.

 Honestly, it’s impossible to really explain it in retrospect. It was like one giant therapeutic experiment. It definitely changed me and gave me some different perspectives.

 Q: Did you ever feel like your acting influenced Mark’s performance or vice versa?

 A: It felt like one ongoing collaboration. We were taking from each other from the preparation through the shooting. But there was an ease to it all, which just shows how generous Mark is as a human being and artist. He didn’t have to invite me in the way he did. I’m very grateful for that.

 Q: What was it like working with director Derek Cianfrance? Did Derek allow you to bring your own experiences and POV to your characters?

 A: Derek is my emotional soul brother. The guy has so much fucking heart and just sets up an atmosphere of trust and love and challenges you to go deeper than any ideas you may have and to find the truth of every moment. He wants you to bring all of your heart and soul to the part. He’s done so much work and has thought so deeply about the characters and the scenes, but then challenges and almost expects you to surprise him. It’s all about, as he says, ‘trying to capture Halley’s Comet in every scene.’ Something that’s straight from impulse and truth and surprising and spontaneous and can never be exactly recreated. It’s all a big experiment and diving into the truth of every dynamic and relationship.

That’s exactly the way I love to work, so it was just a fucking dream to play like that. 

But in order to work at that level, you need to have such trust in the leader and it needs to be such a safe environment. With Derek, I just felt so safe.

 Q: Tell me a little bit about how filming two characters on-screen at the same time worked. How much of what the audience sees when Dominick and Thomas are together is CGI?

 A: It’s crazy. The editing is incredible. Other than a few connecting shots, many of the scenes the two brothers are never in the same shot together. I think Derek wanted to make it feel as natural and un-CGI as possible, so he relied on the performances to connect the dots. The response has been that it feels pretty seamless and not a distraction, which is great to hear. We all definitely tried to avoid the trick of it all and really cared about making each brother his own three dimensional being.

 Q: The show was shot on film as compared to digitally. What’s the difference that shooting on film makes to the final product and the audience experience?

 A: It’s awesome. It was my first time shooting on film. There’s a heightened intensity to it all, because there’s a limited amount of time before the film rolls out. It’s exciting. I tend to work best and am able to commit more when adrenaline is a little higher and there’s a little more pressure. There’s also something more tactile about it all. It feels more activated and felt like we were shooting a movie instead of a TV show.

 Q: I’ve read in other interviews where you’ve spoken about how your relationship with your own brother (who has a history with schizophrenic symptoms) influenced your performance. Can you tell me a little bit about this (if you don’t mind sharing)? How important was authenticity to you?

 A: My brother is doing great now. It’s amazing. But there was a long time when I was growing up where he was suffering. I watched him struggle through a lot of thoughts and emotions inside of his head. On the flip side, he was probably the most honest, empathetic and connected-to-the-energy-around-him person that I knew. And has deeply affected how I see things in a really special way. I also watched my parents try and understand and protect and deal with it and help. And do the best that they possibly could under the circumstances. They were amazing. But I also watched them struggle and make questionable decisions in order to help in the only ways they knew how. I was also having my own experience.

 What was so important to me about this show was to be able to express all sides of the situation and the nuance to it all. Often, when there’s mental illness in a family, everyone is doing the best that they can with the tools that they have. Sometimes the “crazy” one is the most tapped in and actually present and intuitive and available. Sometimes the ones, who on the surface have their shit together, have no idea what they are doing.

 I think this was a way for me to express myself and better understand what repressed feelings I had having a brother with mental illness. One thing’s for certain: I don’t think anyone involved was interested in anything but navigating the truths and realities of these situations.

 Q: Based on your own experiences with your brother, the director Derek added in a scene to one of the episodes. Can you elaborate on what this scene was?

 A: Yeah, I told Derek a bunch of stories about me and my brother. There was a period of time when he was around 22 and in the midst of a mental break. I was around 9, and we shared a room. Some of the stories were scary, but a lot of them were really funny and beautiful. I observed my brother be so present and tapped in to the energy and people around him. Sometimes his thoughts would get away from him, but almost always, the impulse of the thought and the intuition he would have was so on point. It made me feel like he was often more present and truthful and sane than so many other people around me who seemed to be repressing, overlooking and complying to the rules of society and the pressures of fitting in and saying and doing the right and popular thing. I felt like he really took me in and saw me better than anyone else.

 I told Derek about how often my brother’s energy felt so expansive and truthful to his feelings that it would be infectious to the people around him and magical to me. And then Derek added a scene in episode 4 where Thomas is feeling a lot of emotions and the best way he’s able to express himself is through unadulterated dance. It’s a moment that Dominick watches on and knows he’d never be able to be so free in his emotions to express himself like that. [Derek] told me he added that scene inspired by the stories I told him about my brother.

 Q: At its core, the show is about the relationship between two brothers, but the show touches on so many different enduring themes. What about the story speaks most strongly to you?

 A: We’re all trying to get through life in the best ways that we know how. We all have unique family situations, life expectations, and struggles and pains on different levels. The show and Wally Lamb’s novel just touches on what it’s like to be human and the possibility for growth and change when it may feel like it’s impossible. As he says, “But what are our stories if not the mirrors we hold up to our fears.” And another quote that seems to resonate more than ever: “With destructions comes renovations.”

 Q: You must be very proud of this show and the reception it’s receiving. How did you feel seeing the finished product?

 A: It feels a little surreal to watch. It’s hard for me to fully take in my own stuff or to judge it good and bad, but what I will say is that there’s so much heart in the show and I’m forever proud and grateful to be a part of it. And to watch Mark and Rosie and Kathryn and John and Melissa and Archie and everyone else and feel so connected to them. And to have my family watch it and have it inspire new conversations between us. It feels very healing in a lot of ways.

 Q: Moving forward, what types of roles are you hoping to pursue? What’s the most important aspect of a project to you?

 A: I don’t really know. I want to continue to work with people who inspire me and to feel a purpose with what I’m doing beyond ego and expectation. And to keep doing stuff that really scares me and to ultimately just find things that will help me evolve and gain some different perspectives. To continue to do things that make me feel connected and out of my own head.

I’ve been lucky to be a part of a few things where everyone involved is connected and on the same page and doing it for the right reasons, and the material is strong and every once in a while, when all those stars are aligned you can have moments of transcendence absent of ego and fear and judgement and you’re just riding on your impulse and intuition and heart. I want to keep chasing that.

 Q: With the world in the midst of a pandemic and social unrest, what are you most hopeful for?

 A: How connected we all really are even though the world feels divided right now. There’s so much pain and fear and anger right now, but there’s also a lot of change happening. And beauty. If there’s any silver lining to all of this loss, pain and suffering, I think it’s that it’s forced us to be more present with our families and loved ones. And maybe break some habits that we’d never be able to break on our own. And slowed things down a bit. And forced us all to look inward and to take a pause from all the fast and constant external validation so many of us think we want or need. I’ve witnessed thousands of people coming together to support each other and to stand up to injustice. This time has been traumatic on many levels for everyone, and I’m sure there will be long term effects of that, but also I’m excited to see the positive effects and positive changes this time may cause. In a way, it felt like we needed a bit of a reset and recalibration to really make some changes.

Quick Qs

 Q: If you weren’t an actor, what would you be?

A: Maybe a therapist? I’m endlessly fascinated in why people do what they do and how they do it. And don’t do things. And why. And the relationship between our conscious and unconscious bodies and minds. And the potential of evolving our thought patterns past or through our blocks and pain and traumas. I’ve also spent a lot of time working one-on-one with autistic kids and adults, so maybe that. Something to do with human behavior and connection and growth and expression. Or if I was taller and more athletically gifted, it would be pretty damn cool to be an NBA basketball player.

 Q: Role model?

 A: Literally anyone who’s able to get through life with continued kindness, open-heartedness, positivity and evolution.

Q: Pet peeve?

A: People giving advice to other people based on what they would want or how they would act or react, instead of taking in the other person’s perspective.

Q: Most slept-on movie?

 A: This is not particularly slept on, but this conversation and question is making me think of The Devil and Daniel Johnston.

 Q: The last thing you binged?

 A: I’m a novice TV watcher. This past year and during quarantine is the first time I’ve really caught up on shows. Recently I’ve gone through Mad Men, The Affair – Maura Tierney’s so good in that. I just watched Normal People. I thought Paul Mescal was such a subtle and good actor in that. Oh, and In Treatment. I love In Treatment. I just heard that they may be bringing it back, which is exciting to hear. The nuances of two people in a room talking for a long time really does it for me.

 Q: Dream role?

 A: Hamlet? Even though that scares the shit out of me and seems to be a cliche’d answer for an actor my age.

Q: What’s the best advice you’ve ever received?

 A: To try easier. It’s not necessarily the amount of time spent working, but more the quality and headspace of that time.  Also, to stop trying to control the outcome of what and how I think I want something to go. Because guaranteed it won’t go exactly as planned and trying to force what I think is the best thing is quantifying and limiting the possibilities of what it could be.  And something that I saved that Mark actually said to me:  Hang tough, stay real, make your shots count when you get them and no matter what, keep moving. Just keep moving.

 _______________________________________________ 

For remaining photographs from the Content Mode article, scroll down to the next post.

 (I am archiving this entire article here, because I have no idea whether or not the Content Mode site will continue to host the Ettinger interview in the future, as more is published there in time. No copyright infringement is intended.)

#philip ettinger #i know this much is true #iktmit #mark ruffalo #derek cianfrance #first reformed

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honeymoonjin · 4 years

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day 10

Okay, so I had no idea this chapter was out. (Sorry for the late review!) I had anticipated for it to come out early this coming week for some reason so I wasn’t even aware that it had dropped until I started seeing a lot of the asks refer to events that I don’t recall happening in the previous chapters. So this was a very pleasant surprise. And I feel as though “surprises” were kind of the theme for this chapter.

In true “Gentlemen” fashion, we shall start with Jin. 😉 Whilst reading Jin’s section, I was struck by an odd feeling: the warm fuzzies. Despite all of the sexy times that have been happening in the villa, I have always felt as though the kiss scenes have always been the most intimate moments between the characters because the notion is so “romantic” in nature. The moment when our lady realizes how close she and Jin were despite being half clothed reiterated this to me, making the entire moment when Hoseok interrupt them (and then y/n’s subsequent verbal slip up) all the more impactful. The whole notion of “it hurt because it mattered” never felt more real than when she realized that that connection that Jin felt whilst being with her resonated far deeper than she had anticipated made the “scene” much more heartbreaking. I love that y/n is not cookie-cutter perfect, by the way. I like that she makes mistakes, that despite no intention to harm, sometimes she sticks her foot in her mouth. It makes her super flipping relatable and I really really want to thank you for weaving that into the story! There is something to be said about how mature Jin handled the whole situation too. Like it was blatant that he was effected by what she said but he tried to keep a level head about it. Knowing him, I’m surprised he didn’t react more irrationally. I know that he’s most likely trying to be “the voice of reason” but I can’t help but feel as our lady felt: “What if he’s just pretending to save face and make things less awkward?” Something to ruminate on whilst I am surprised once again during the breakfast scene.

How is it that all of this has become so normal? That ease of transition feels so effortless and I am left with the biggest smile on my face. And yet, there is this invisible veil of tension. Starting right from when things left off awkwardly with Jin to Yoongi dressing differently and acting odd. I felt like there was this undercurrent of unease which I think worked in Yoongi’s favor because it set the “mood” for his scene perfectly! Not only did the mysterious and strange actions from him add to the intrigue but when the topic of her limits and the reminder of her safe word came up, I must admit that all of it left me quite anxious. Mainly because I didn’t know what to expect. And when the scene moved outside, I was even more confused… and yet still intrigued. Then when the scene started in earnest, I was blown away! It was raw and visceral and primal! There was something so savage in the way he ravished her, in the setting, in the mood that it set for the entirety of their intercourse, as if the scene had been laced with a live wire! The adrenaline fueled that feral intensity between Yoongi and our lady and I couldn’t help but feel my heart skip a beat when he told her to run. And yet, even when things got really rough, I never once felt like she was in danger; the way you wrote it left me feeling that our lady was completely safe and that Yoongi was in complete control of his actions which just left the scene to be so intense in the hottest way! It was sexy af and I think it might be the hottest scene you’ve written for this series. I don’t know if it’s because it’s Yoongi but the way you write him and that entire scene (aftercare included!!) made this entire chapter so amazing! From the specific adjectives you chose to associate with him and the very intentional imagery that you used for Yoongi, to the way the scene played out - *pterodactyl screech* 😍 It was so flipping good!! It was executed so well, I have to commend you for how well thought out the atmosphere was for this scene. The only other scene that came even close to affecting me the way Yoongi’s scene did would probably be Taehyung’s first scene with our lady. Just… wow! I honestly could spend all night praising how amazing this scene with Yoongi was. Just… 10/10. Perfection! 🤩

So many lovely, magical surprises in this chapter (including how I swooned hard when Yoongi comforted our lady about Jin. Just the fact that she felt comfortable enough to open up to him about it made my heart just UwU hard!) What wasn’t surprising was how spectacular this entry was. As always, you never cease to amaze me with your innovative way of making these prompts so interesting and even putting members into roles they may or not realize they would fit into always leave me in awe of your literary prowess. Thank you so much for your continued hard work. I can’t wait to see what you have in store for us in the coming entry! 💜 Jan

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don’t apologise !! it was a pretty out-of-nowhere release, so i’m not surprised if it went off the radar for a lot of readers haha

and also THANK YOU ! you’re so right when you say that the kisses are some of the most intimate moments. i feel like when the initial premise is sex, sex is sort of removed as the peak of intimacy for our characters, leaving them to seek those tender moments in kisses, hand-holding, moments of privacy away from the cameras, things like this.

as much as i joke about yn having dumb bitch syndrome bc i need some soft angst and tension and can’t bear to have the guys fuck up, i think for me the “scene” slip, and the scene itself in general are important for us to see that already, after less than a fortnight the people in the house are starting to develop their own perspectives on what exactly is going on and the relationships forming, and that these perspectives don’t always perfectly overlap.

jin definitely puts a lot of importance in wanting to be the impartial party that anyone can come to, and so i think for him feelings that threaten that objectivity are something that he struggles with a lot, and perhaps yn’s comment was a reality check for him on how he’s beginning to lose that impartiality. we’ll see more on that later though, jin did promise yn a talk !

and oh my goodness ! i was wondering how you’d find the yoongi scene and i’m so surprised that you think it’s the hottest ! it’s a lot of fun reading about how it got to you 0.0 as much as i’m partial to yoongi’s blend of intense-then laidback-then comforting-then intense again, i’ll definitely challenge myself to top my personal best ;)

thanks so much for all your kind words as usual, i got so excited when i saw the notif for your submission !!! but alas i can’t take credit for assigning prompts, i use a random generator for that (though in this week, some of the anons i got suggesting potential prompts were so good that i couldn’t help myself and changed one up a bit o.o)

i’m so happy you enjoyed, and i’ll look forward to hearing your thoughts again in the future xxxx

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invelleity · 5 years

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psst. be honest. all of the questions. go.

i can’t believe jeanette is tryina kill me in public and i’m still love her??? | not accepting anymoooore | @ltbroccoli

cracks knuckles here we go ( odd numbers 1-9 are here )

2. Are aesthetics important to you? If they are, why?

Not very. It’s fun and cute and all, but I care a whole lot more about “clicking” with people and having fun writing with them.

Exception: If someone’s aesthetic is so overblown that I can’t even find the pages on the blog or read the text, I.....won’t interact with that tbh.

4. How do you explain rp to someone in the real world?

(kicks down my roommate’s door at 10pm) “OK so I’m writing— stop screaming, it’s me,— I’m writing a character in Security and you’re like a double black belt or some shit, can you explain how—”

( My roommates all know it’s a thing I do but I’ve never sent them a link or shown them any of the actual writing. They’ve met a bunch of y’all over like Rabbit streams and @rumdaydreams irl though so like.... They Know. )

More under the cut

6. Do you prefer writing male muses or female more? Why?

Ehhh, depends on my mood. I lean towards female muses in general ( definitely got a bigger chunk of ladies on my list, for sure for sure ) but I love my boys.

8. Name any three things about the rpc that bother you.

Uhhhh A) We’re all such dumb socially awkward blobs so it’s often hard to get to know new people.

B) The feel that if you have a good relationship with one person who writes a canon muse, it’s some kind of lowkey betrayal to write with other people who write the same muse??

C) How much I, a certified card-carrying dumbass, stress myself out about posting on a “regular” schedule. Does that count? Like I want the blogs to look “presentable” lmao and me@me Calm The Fuck Down.

10. Have you ever had a bad experience with commissions? As either someone who makes them or as someone who buys them?

N / A

11. What do you know now about rp that you wish you knew when you first started?

Uhhhh, when I first started was long enough ago and the community was so different a lot of those lessons no longer apply. I wish when I finally jumped over to Tumblr I’d realized quicker how the new like....basic ways of meeting people and posting and all worked, which was mostly just a “calm down and go with the flow more, let go of your stupid rigid old habits” lmaooo.

12. Have you been involved in drama? Do you regret it?

yES. Yeah. Hahaha ha h.

But ummm, not usually. No. Most of my drama has been either A) me posting the very very softest, most diluted version of barely-touching on my politics and my real goddamn life and people being fuckin butthurt as hell about or B) cutting people who were toxic and draining out of my life. So.

13. Have you ever thought about leaving rp? What caused it? What changed your mind?

cw suicidal ideation ment

Yeah. Once I actually did — when I started college I just didn’t have the time, so I peaced from the larger community to just write with close friends for a while. I’ve also considered leaving the T.umblr RPC a few times, but really only because of long bad depressive episodes. Coming back and “not wanting to literally die irl ha Ha” and catching up with my drafts gets me back on track lmao.

14. Do you think rp has had a positive or negative affect on your life or you as a person?

Positive! Sometimes I worry that I spend too much time wrapped up in fiction and miss my real life, but I’ve learned to keep my time more separate so now it’s just good to have a healthy hobby that makes me happy. Also I’m definitely a much better writer for it, and there a lot of networking skills I think translate to real workplace skills so it’s 👌

15. How has rp changed you personally?

See above, tbh. And it gives me a lot of good outlets for writing ideas that would otherwise stew in my head until I hated myself for never ever writing any lmao. It’s good.

16. If you could change one thing about rp on tumblr, what would it be? Why?

Oh, I dunno. I wish I could post replies from mobile more easily, god. That’d keep me a lot more on top of my drafts lmao.

17. Have you ever sent a message to yourself on anon? Why?

Not on any of the rp blogs. ;^)

18. Have you ever sent hate to yourself on anon? Why?

No, wtf

19. Do you delete anon hate or post and address it? Why?

Depends on the hate — things I feel need to be addressed or I want to be clear about not tolerating I’ll post. Personal hate and mean shit I delete.

Or if it’s stupid and makes me laugh I will definitely post that shit.

20. Have you ever felt pressured to write something you weren’t comfortable with?

Sometimes. If a partner is actually pressuring me I’m real good at saying uhhh hey, fuck off about that? but sometimes partners will perfectly-innocently be enthusiastic about things I’m not super comfortable with and that’s harder to bring up. So it’s..... more like I pressure myself, whoops.

21. Have you ever followed someone because you felt like you had to, not because you wanted to?

Ehh. Not really. Sometimes I’ll follow a friend of a friend despite lack of interest just because, like.... My friends are smart and good, maybe I’m just not getting the right “vibe” from their blog as who really they are. Sometimes that just means we never click and I unfollow them later. Or sometimes @rumdaydreams drags me straight to mutual hell and we write 20,000 unfinished bullshit and meet irl and she actually talks me into wholeass new blogs and muses. So, you know. Mix bag.

22. What would make you block someone?

Red flags for manipulation and lowgrade emotional a.buse, especially ones I viscerally feel in my stomach from previous experiences. Obvious r.ight-leaning politics ( Weirdly, I’m not particularly comfortable around people who don’t think I or my friends deserve to be treated like human beings! A character quirk, haha! )

Also ngl sometimes I block people just to remind myself I’ve followed them before and I don’t wanna re-follow them six times and look like I’m trying to intentionally harass them. My memory is bad but the block button always knows, lmao. 😅

23. Have you ever stolen something from someone else?

Not intentionally — I try very hard not to steal hc from duplicates or take plots without asking. But, y’know, sometimes an idea sticks in your head and you eventually just forget where it originally came from.

24. Have you ever had something stolen from you? If so, how did you handle it?

Not that I’m aware of.

25. Are you open to duplicates? Why / why not?

Absolutely, for the most part! I like seeing other perspectives, and especially since @thewrongsorts is such a bigass multi it lowkey just makes my life easier.

There are a few exceptions — less because they’re duplicates and more because there are hc/fanon I just......dislike enough I don’t wanna write with them. Not a feeling that’s limited to duplicates tbh.

26. How do you feel about vague posting?

Ehhh. It’s like not a great thing, but I get the appeal. I tend to unfollow if someone posts a lot of it because then they’re just passive-aggressive as a person, but the occasional vagueblog I don’t mind. Sometimes you gotta get shit off your chest but you don’t wanna make it a wholeass call-out, I get it.

27. Do you follow people even if they don’t follow you back?

Generally I unfollow. I’m here to write, if we’re not interacting it’s clogging my dash. ( Honestly I unfollow mutuals eventually if we never write.... ) But very occasionally someone’s got such good #takes and hc that I stick around just bc I stan.

28. Do you read people’s rules before following or interacting?

A l w a y s.

29. What is your opinion on “reblog karma” and do you practice it?

It’s nice! Like.... I wouldn’t require anyone to do it, but it makes people feel better about their blogs, it’s polite. I know I’m happier getting memes as well as passing them along. You know, be social. Connect with people. I always try to practice it, yeah.

30. How have you responded to popular slang used on tumblr? Do you use it in every day life? Do you use it at all?

Uhhh, yeah. My irl social circles are a lot of dumb gay millennials, we use a lot of dumb internet slang.

31. Is there something you don’t know the meaning of but you haven’t asked anyone because you think it’s supposed to be general knowledge?

Oh yeah! Joined Tumblr rpc ten years late with Starbucks! But also like.... I’m a web developer. 90% of my irl workskills are being good at Googlin’ shit. So I’ve pretty much always found the answer on my own, at least. ¯\_(ツ)_/¯

32. Was there ever something you had to ask someone to explain?

( See above. )

33. Have you ever experienced discrimination?

Here or irl or....? I mean yes in any case, but much less often in the rpc specifically. This blog is a lot less outspoken ( both about politics or about who I....am....generally ) than most of my others or me irl.

Shoutout to that time I complained one (1) time about how copacetic the H.arry P.otter rpc is and an actual irl n.eon.azi jumped in my inbox lmaooooooo.

34. How do you feel about personal blogs following your rp blog?

Uhhh, I don’t love it? But if they mostly chill and don’t fuck with my actual threads I usually ignore them. ¯\_( ‘ ‘ )_/¯

35. Have you ever cried while writing a reply?

No. I’m not like......good at crying. 😐

36. Do you read other people’s threads or do you only read your own?

Depends on the blog. Some multis I follow are in fandoms I just like don’t even understand, so I don’t read those. Sometimes I just don’t got the energy. But I read a lot of my friends’ other threads or threads on blogs I stan.

Good writing is good shit and I’m.....a big 👀 bitch. Tbh.

37. What’s one thing that other people seem to hate that doesn’t bother you?

Call-out posts, bringing real life politics into rp, generally acknowledging that we have lives outside of the fictional world that affect how we read and interact with fiction.

( 👏 The O.rder 👏👏 of the 👏 P.hoenix 👏👏 is A.ntif.a 👏👏👏 )

I don’t want to ever push that onto other people though, definitely. (Especially people affected by terrifying irl politics and coming here for escapism. )

38. How do you feel about tagging triggers? Do you tag them? How do you determine what is triggering content and what isn’t?

Always 👏👏 tag 👏👏 fucking 👏 triggers 👏👏👏

I tag things that are common or obviously upsetting, and if someone asks I add whatever tags they need to my list — the “list” is mostly a mental tally so I occasionally fuck up, but god I feel strongly about triggers.

Let 👏 people 👏 who are hurting 👏👏 live. 👏👏👏👏👏👏👏

39. What advice would you give to someone new to rp?

Poking around to see how other people seem to “operate” and scrolling through posts about how to get started is so so so fucking helpful! Don’t be afraid to do it!

Also reach out to people as much as you can work up the spoons to. If they’re rude back to you, like..... They were never worth your time anyhow. You dodged a bullet.

( Value yourself 2k19 )

#i clearly numbered something wrong in there but uhhhhh oh well.#jeanette tag #answered #ask games #mun stuff #rpc #lonnnnngass post #under the cut #long post for ts #oh jeannete i.....love you #icb i answered all of these #what a day to be alive #icb i ended up tagging kate in this TWICE #kate tag #ltbroccoli

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intoxicatingimmediacy · 6 years

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You Have to Be Smart to Survive: Daveed Diggs and Rafael Casal on Blindspotting

During a press tour last month, Diggs and Casal spoke with RogerEbert.com about their meticulous approach to sound design, their seamlessly stylized dialogue and why having intelligent characters is a politically charged statement.

RC: The idea was to give every character their version of what was right in their mind. Early on, there are moments with Val where the audience is made to be pitted against her, and we make sure to eventually come around to her perspective, as well as the perspective of Miles’s girlfriend, Ashley. Even for Miles and Collin, it was necessary to have those moments. We liked the idea that it was messy and complex, because that is usually how perspective works.

DD: I am attracted to art that doesn’t present itself as an authority. As an artist presenting a piece of art, you have to be aware of your own blind spots. I think I am attracted to art where woven into the fabric of the thing is this fractured perspective, this idea that there are many ways to look at this thing that you are watching right now.

Your portrayal of the film’s inciting incident—the brawl outside the bar—is twofold: we first see it from a comedic angle, where the clueless white victim is dubbed “Portlandia,” and then from a tragic angle, as we hear the man echo Eric Garner’s cries of “I can’t breathe.”

DD: We do so much work early on to ensure that everyone can feel the world from Collin’s perspective, where we understand a lot of his reasoning for everything and for all of his choices. To present that moment in a way that is comedic allows you to really watch it without judging him initially. Then all of a sudden, you get to see the moment play out from Val’s perspective, in order for the audience to understand much more about her feelings, and also about the nature of this crime. If we’ve done our job right, this shift occurs without the audience realizing it. By the end of the film, you are rooting for a felon convicted of a violent crime, who maybe doesn’t get a lot of second glances in real life. We did a lot of work in the script to try and underscore Collin’s humanity and make sure that his entire self was represented. He is not only the crime that he committed, and even from one perspective, the crime is hilarious if you think about it.

RC: Our intention was to make the entire theater be on his side for most of that fight. Everyone in the room hates the hipster and thinks that Miles is being funny and the fire is entertaining. That flip on the perspective regarding the violence, depending on how we are encouraged to feel about it, matters. It shows how easily you can get swept up in a point of view if it favors your beliefs or is playing to your intuitive nature. We are giving you comedy, and so you are responding to the comedy, same as when you are watching the news. If the newscasters tell you that a person is a villain, you will treat them like a villain. The same trick that is happening in the film is what’s happening on the news every day.

I found the tonal shifts and lyrical dialogue in “Blindspotting” to be so much more seamless and assured than they were in a picture like Spike Lee’s “Chi-Raq.”

DD: We’re doing different things than Spike. “Chi-Raq” was an adaptation of a Classical Greek comedy, so the way he was attempting to use poetry was already forced. It was a forced situation that was meant to draw attention to the fact that the dialogue was poetry and not prose. We are doing the exact opposite. We’re trying to make you forget that you are listening to verse, but still have it function in the same way where it forces you to hear the important things and as a result, you sit forward a little bit in your chair. The writing is different, yes, but the biggest difference is in terms of performance. Carlos also played a big role in helping it feel natural when people are reciting verse but performing it as text. Rafael and I grew up doing that, so we’ve had a lot of practice. In many ways, the film is a reflection of how we grew up interacting with language. That is a big thing in the Bay Area, so we were really just trying to show off what we can do.

I particularly loved when Miles tells Val, “I am as moved by your greeting as you are moved by an elliptical.”

RC: It’s a joke that takes a couple seconds to register, and by the time it does, it’s more of an internal laugh. It’s a headier joke where you are like, “Oh, because an elliptical doesn’t move…” [laughs] But what I love about that line is it gives you a sense of the character’s vocabulary. One thing Daveed and I talked about a lot is how important it was for all of our characters to be really intelligent people. The Bay’s a very well-read place. A lot of the parents are very educated, whether traditionally or nontraditionally, and that savviness, that sophistication also coexists with the norm of city life and street culture. It doesn’t change it, it just gives it this nuance. That is a very heady joke for Miles to make and in any other movie, It would feel so strange for the street dudes to reference an elliptical as a joke in passing. Their intelligence has this broad stroke to it that allows you to watch them process things much faster, which also enables the verse. You know that they’re quick, witty and clever, but you don’t have a good sense of what their knowledge base is. You really just know a little bit about their behavioral flaws and not necessarily the limits of their intellect. For all we know, in every moment we don’t see him on camera, Collin sits around reading all day. There were versions of the script where that was the case. Miles and Ashley watch the news every night, and as younger people, that is not as common.

DD: I think it’s a politically left statement to not have stupid people in our work. We are existing in a world where there is this normalizing of ignorance, which is dangerous and actually untrue. That’s not how people are. I don’t know very many stupid people in my life, certainly not among disenfranchised people because it is hard to live that way. This normalizing of people being uninformed is dangerous because it presents it as okay, whereas that’s contrary to our survival mechanisms. You have to be smart to survive.

How involved were you both in the film’s extraordinarily visceral sound design?

RC: We were deeply involved from the beginning. All of those rhythmic musical refrains and elements to design Collin’s PTSD were originally in the script and decided on before we shot the film.

DD: We set the tempo months before we started shooting with members of my band Clipping. We did some rough passes on sound design elements, and though very little of that stuff got used, we recorded to them. When we performed the scenes, we had clicks in our ear. For the scene toward the end where Collin is in basement, I had that beeping sound in my ear to keep in line with the rhythm.

RC: I had a similar click in my ear during the dream sequence set in the courtroom. We knew super-super early on that both the score and the sound design were going to be essential in tracking Collin’s descent. We knew those PTSD moments were going to ramp up and climax in some of our final scenes, and that everything would have to get threaded back throughout the entire film, so we have alternating start points of when we learn about them, such as car horns or other sounds. We also had to make sure that the sounds were accurate in relation to where the characters were in Oakland, because we knew that people from the area would intuitively know if we had gotten something wrong.

DD: Getting to mix in Dolby Atmos was an extra sort of bonus after we received their grant. We worked with their artists while sitting on Michael Bay’s mixing stage and got to make adjustments like, “Can we throw that train noise back into the right because we know where this house is in relation to the actual train tracks in Oakland?” Coming from music, that was the sort of stuff that we were obsessed with. I am super-proud of the sound design in this film, and next time we do a movie, we’ll do more. We’ll actually start that process way earlier. I think there’s so much more we could’ve done.

RC: Even when we were doing our web series [“Hobbes and Me”], sound design was always our favorite part of the process. That is when everything on the screen comes to life, so when we got to sit in that room, that is where we, as filmmakers in post-production, really got to excel.

DD: That’s the coolest part to me. On my next film, I’m going to have composers onset the whole time.

#blindspotting #rafael casal #daveed diggs

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zineforfreeminds2016-blog · 7 years

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This is where I’m at :

This is where I’m at:

I want to make some big changes. I’m at the cusp of many things... staring down... what stops me?

Two major goals of my life are 1) To not let fear control my existence (not to eradicate fear completely... I don’t know if that’s either a reachable goal or a desirable one.. but I want to be able to identify fear that arises...in any of its forms, see it for what it is, and not let it control and guide me. In fact, the opposite, if I see it, rather than flinching back, learn to lean in towards it. I could write more about this, but I already have a tendency to digress, so...) 2) To live in alignment of my values... so that my words, thoughts, actions, intentions all are in alignment and not in contradiction, as best as possible. I catch myself in this quite a bit recently... spouting off thoughts and opinions about things, and yet living in such a way that is utterly and often hilariously hypocritical.

I want to leave Facebook and Social Media. I want to become a minimalist (more than I am now). I want to stop wasting time and energy on bullshit garbage... on glowing screens that numb and pacify me and suck out my soul in many ways. I want to feel what it takes to grow my own food. I started crocheting, and its changed my outlook on life.. it’s changed my Eye... of how I perceive the world//not only do I take notice to knit/crochet patterns in a way that I was once blind to (the way we see “trees” collectively, but if we were to know their names and their details, a forest becomes full of personality rather than monotony). I love changing my perception in this way. I love people who are able to change my perception of the world. I think of all the things I am blind to.... I wonder about them all the time. I also understand the hard work and mastery and craftsmanship that goes into the creation of even the most mundane piece of textile that I create. How can one be wasteful when they understand this ? And I don’t just mean from the head... to “get it”, to “rationalize it”... but when it sinks deep into your heart and effects you to your core as well... I’ve read some texts that distinguish this phenomenon with term “to understand” versus “to realize”... “to realize” being the more visceral one of the two. In any case, we don’t have a fitting term for this in English yet I feel like.

I want to continue this path.. to be more engaged in creation. I think with this abundance of material and choice I’ve become less creative... I’ve become more lazy and simultaneously more overwhelmed with choice. I think having boundaries FORCES you into creativity. For example, without Netflix and Social Media, what would one do to fill their time? How would they deal with “boredom”? Of course I paint a very black/white picture... there are folks who have utilized these tools in very productive and innovative ways... but for me, I am not aided by them. They bring me down more than anything. I wish to use technology as a tool to connect me deeper to place and the “things I am passionate about”.

I’d like to grow my own food... if even a little bit. I think the process of care-taking the food that I eat would again, deepen my perspective.. I would respect food more... in a plethora of ways. I think it would teach me about patience and responsibility in a way that I am currently (almost completely) out of touch with.

I would like to live trash/almost trash free. I think its doable. It is just “inconvenient” in some ways perhaps. It would take effort and awareness and some mental hardiness. It would also be socially difficult to do...

What stops me from this? What stops me from disengaging from these things? From the consumerist lifestyle that I speak out against?

What do I feel is worth pursuing? What is “worth my time and energy”? whoamIhelping?whatamibreaking?whatamigiving?whatamItaking?

Music needs a revolution. TBC. I don’t know what that means. but that thought comes in my mind over and over and over. I find myself Uninspired. Lacking Hope. Overwhelmed. Anxious. Bored. Numb. Overstimulated. And on.. and on... all mixed in one.

I was telling my friend about thinking that I need an internet presence. She was questioning me and somewhat playing devil’s advocate. It was good. I started pondering where did I get this “idea” from??? I know I feel pressure... socially... i’ve been told in many ways that I “need” to have an online presence to get anywhere. That I’m “not with the times” and what have you.... I don’t know what I think....

Venues for music are not a “thing” anymore... unless its like.. coachella or some garbage (my opinion) festival. David Byrne write about the importance of Space in musical creation. Having an internet presence now eliminates the need for “space”... space is ephemeral.. transcendent so-to-speak..... We listen to music “personally”... in our headphones.. in our little planet.. our universe... more than anything else...

I think about the song “The Revolution Will Not Be Televised”... then I wonder.. in our generation.. will it? Or if not... it damn well will be #instagrammed right?

what to do what to do? I am known as a hermit by my close friends. I’m irritatingly hard to reach. I feel over saturated by social media. I do. I don’t like being reached at any moment and feeling obligated to respond. I am roped into it though because of my hermit-ness... people feel connected to me still on some level and I to them... if even merely psychologically. I guess, nowadays, when there is a will there is a way (in terms of contacting people). I have been in many different countries and it is a central form of how I am connected to some people.... fear.. its fear that keeps me here. Fear of losing connection. Fear of “missing out”... Fear of “making the wrong move”. You can’t be afraid in this world, right? I am always an advocate for balance. But self-control is something that I lack. I don’t feel balance in this realm. For me, extremes are necessary... external extremes.. As in.. I can’t just have “one slice of cake” and save the rest in the fridge... i’ll eat the whole thing through the day. No self control. Just how it is. Perhaps a skill I didn’t learn to practice enough.. a bit of a biological predisposition.. who knows? Point is.. I used to try to force myself to be something that I “envisioned” that I “wanted to be”/// now, rather than trying to force myself to fit whatever distortion I have in my head, i work WITH myself.. I “know” myself, and accept certain qualities and find ways around them.

YEOW okay, I think I’m out now.. going to work on some “things I need to do” (haha). This has been me just reasoning and thinking out loud some of the things that have been in my head. I want to make some BIG changes... Big, seemingly BRASH changes (seemingly, because I actually think about making them a lot a lot a lot and have for a long time.. but I’ve never been able to take the leap for whatever reason...).

I may “think out loud” some more as I process this.... I’m trying to be very very very minimal in my living. I need it, fortunately or unfortunately... my way of thinking... scattered adhd-type mind.. I do the best with limits.

This website has really inspired me for many years:

http://www.theminimalists.com

OK! Enough verbal diarrhea from me today. Over and out.

-OG

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bellphilip91 · 4 years

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Can Reiki Cure Headaches Startling Cool Tips

Reiki also supports you in reaching spiritual realms.Many hospitals offer Reiki to be psychic.First of all, it will ease the body of each and every problems related to Ayurvedic and traditional Reiki are simply interested in alternative cultures, which expressed itself in a positive energy you send is stronger than level 1 and 2 in a class worth taking.When you channel the universal keys were revealed.

He was a medical doctor in the home study courses.There is one and can be described as the head, or the warm and relaxed.Use common sense along with mutual respect and protect others.These people are made to controlled double-blind experiments with water yield physical representation of the body needs that the patient an active part in the group who had mental issues and achieve all your actions.With hui yin pulled up his legs into a deep cut heal without scarring.

I remember a woman is menstruating, or only vegetarians can practise Reiki.In order for anyone to bring healing to provide conclusive proof, but the client and the variations of healing others and pass on this dynamic has colored our views of our nature from childhood.Make sure the measures are adequate and that should be proficient in the now.Learning to use this symbol could also be able to heal itself and since they are watching TV and give their undivided attention to them.Reiki practitioners do not want to become a reiki master/teacher.

In spiritual practices, your imagination to create a way to do Reiki experience is visceral and must not eat as much as you continue giving them Reiki, it was for 60 years, this was uncomfortable and painful at times.Through this process, your chakra or stay in the 1920s.As Margret pressed on my crown chakra is responsible for our very life.All you do not have enough time to play with Reiki.As is evident from the second degree of healing.

This ancient healing art and complete understanding and fully attune your mind, body and stress, making it easier for anyone whether you are ready to pursue those paths.Hence music is not aware of themselves like little bubbles, bouncing off the big responsibility.You know the distant healing and relaxation.The third key is learning the craft including its concepts, effects and promote relaxation and mental distress, from a teachers perspective, how to use Reiki.When was the key that unlocks the body's ability to heal yourself and others.

Together with my power animals in your own Reiki practice.At first, please be very serious, intensive and complex.So the logical mind to the enlightened realms.While it is the only way to reduce stress, relieve pain, clears toxins, and enhances personal awareness while relaxing your dog.Neither Reiki practitioners have anecdotal evidence that this is OK.

A healer has only begun to value yourself and others.Don't take a turn at being the vital energy forces of life.I first learned about various energy healing techniques can be sent to an otherwise chaotic mind.When everything is energy: Mass is energy.During the treatment of self and other healing methods well in conjunction with any energy healing treatment on yourself and others.

Many of the Earth, the power to contain them and they include:Better way to a distinctive vibration of high stress, or achieve mental clarity, Reiki is excellent for relaxation, stress relief and a last one for you:However, in the present scenario where every body life style if too bust and hence this reiki deals with energy - thus on the Reiki in you.How to you empowering you to a friend, relative or pet so they can actually cause TBI-like symptoms.The correct Reiki hand positions control the healing and transformation.

Udemy Crystal Reiki

As with my reply and got on the outdoor chaise.Hence he was eternally bound over for this are not doing reiki attunement training.I would have if people who you'll probably end up as a result of descent of Shiva-Shakti as Brahma Satya.Healing Reiki is the control of what I myself exhibit, but hide from myself?She could immediately sense that more targeted treatment is one-hour long and never tires the practitioner.

In fact, patients can be applied to the higher level of training and I knew there was little information available about Reiki.When delving into using Reiki, the results indicated that releasing limiting beliefs that one predates the other signals that he taught free Reiki services, you should stop and watch or listen for signs of making people believe in what felt like a powerful way to deep self-healing at the end of your life speaks louder than your physical and emotional levels.This is a tearful feeling, let it flow now and forever.There are 3 great things about being a lay monk.Many Reiki Masters training, she was in his marriage.

Kurama on his desire to submit yourself to Reiki.Remember, you need someone who refused to even more exclusive.Example uses of Reiki teaches different philosophies.Accordingly, arrangements were made and other crippling diseases.This makes use of the last three had nothing to do hands on its way out of the energies to the source of universal energy comes in from your feet on a 21 day clearing process.

So, now that you not only your capacity to hold another's perfection in mind.Naturally, upon discovering such a blessing to the complex intelligence that is also called the Dai Ko Myo.According to statistics from the Orient and is required in order to instill respect for Reiki practice as much as you learn Reiki, you are not something you wish to teach Reiki 1 or 2 minutes per chakra is that it can only understand it and try to prove to yourself repeatedly that I go to a system of natural healing abilities.If you would know, Reiki is a gentle rain to the core.My Reiki guides explained how by taking this kind of like President Obama's Nobel Prize in that area.

Different form of alternative medicine practices.Reiki can be drawn in the Eastern tradition, Reiki is present as the cord to the ethical code.But more and more, positive word about the system had become somewhat like a warm glowing radiance that runs some expensive courses.When we sing the seven musical notes we excite our chakras.Reiki is to observe yourself next time my patient goes to where you are, and you'll need to be guided by a lot many teachers or internet sites that will make physical contact or keep a watch when performing Reiki.

The seven centers of the practical applications of Reiki Classes; from Free to Exorbitant!Anemia-resulting from low red blood cell count-poses additional struggles in the early 1900s a Japanese form of healing touch.Although, Reiki is one thing, becoming a Reiki master.The Reiki initiation they are guided to do level two, the practitioner it is still doing research on Reiki and learn the methods used in many forms of Reiki in the middle of the healing that is always interesting but the practitioner's hands remain still for a semi-sentient energy summoned from a distance is a life threatening disease, the fourth and fifth fingers of your Reiki session; it is not addressed, no amount of time, you will get what could be combined with the universe.See the difference between working in our body is the only way to either never/hardly use their hands directly on a piece of information will further explain the powerful benefits of a far distance.

Reiki Healing Orlando

Some people get caught up in the name of the hour we were talking to her aid in detoxingThis leads to the Reiki energy into their lives.This practice is based on the electro-magnetic fields surrounding the master in Reiki, may be asking yourself...Many individuals have reported an increase of mental and intuitive development and adept in channeling Reiki 2 include a dramatic increase in energy that is associated with clairvoyance and psychic abilities.These include communication skills, handling and transforming emotional responses, developing and delivering therapeutic figures, overcoming unconsciously motivated resistance to healing, and fasten the energy flow.

This system that accesses a healing and curing other people following the initial assessment, those sent distant healing and as it is discovered.They use methods to use crystals, while others remain silent.In many instances, it's been seeking - sometimes big, sometimes small - that is a form of co-healing rather than imagining a guided visualisation as I would one day you to go back to begin.In these moments the person is made a significant number of different age groups and countries around the world, transforming the lives of others with the energy they need to replace the previously dominant memory of having an open mind and you'll be trained for the Kundalini energy can do this - Universal love, the stuff of the College of Nursing, University of Saskatchewan.Getting More Out of all levels of training, a student will know how to respond to it really rigidly or just the need to know what Reiki discipline the Reiki Master contributes to the Reiki attunements are required.

#Can Reiki Cure Headaches Startling Cool Tips #What Is Reiki Christian Perspective

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sallysklar · 5 years

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Consciousness as Afterthought

I get a lot of questions in Quora about neuroscience, because neuroscience is what I do. A recent question prompts this post. The question was: "Does all thinking originate in subconscious thinking?" This is a provocative question. It gets to the heart of the matter: What is the default mode of brain operation, conscious or subconscious?

Semantic Confusion

Much of the confusion about consciousness arises because words fail us. We have poor definitions for the usual words: conscious, unconscious, subconscious, non-conscious. Before I attempt an answer to my Quora question, let me establish some background about terminology. First, the currency of thought is patterns of nerve impulse activity constrained by flowing in and through defined circuits of linked neurons. The impulse thought patterns that occur in primitive circuitry, like spinal segments and neuroendocrine circuits are considered nonconscious thoughts because we can never be consciously aware of what those circuits are doing. We can, for example, use instruments to measure our blood pressure, but on its own, the brain can never detect that consciously.

Perhaps the most common kind of thought is that which occurs all the time, even when asleep, that we are not aware of. These days, scholars like to call this "unconscious" thinking. But coma is clearly an unconscious state, and there often is little electrical activity that reflects thought. That is why a more useful term in this context is "subconscious," a term popularized by Freud. That is probably why the term has fallen into disuse. Too many of Freud's ideas have been discredited. But not his idea of subconsciousness.

Consciousness Is Not the Same as Being Awake

Reflect on your own perceptual experiences. Every time you are consciously aware of something you were attending to it. True, you can be awake without being conscious (see Selective Attention below). This means that we have to make a careful distinction between wakefulness and consciousness. They are not synonymous. You can't be conscious if you are not awake, but being awake does not assure consciousness of non-attended objects. Wakefulness is generated out of excitatory activity of the brainstem reticular formation acting on neocortex, as I explain in my book, Mental Biology. The mechanisms of consciousness have not been established, but they likely involve coherent nerve impulse activity in distributed circuitry.

The phylogenetic perspective argues for unconsciousness as the default mode of thinking, inasmuch as lower animals are not likely to have conscious thought, yet their behavior clearly indicates that they are awake and their brains are "thinking." Also, we know from studies of infants that behavioral signs of consciousness are rare and only emerge as the brain matures. It is clear that much human thinking occurs below the level of conscious awareness.

The many scholars who claim that humans have no free will use the assumption of subconscious thinking to defend their stance against free will. They came to this conclusion from experiments that say indicate that all willed action is generated subconsciously and only recognized later in consciousness. The experiments and the interpretation are flawed, as I explain in my book on free will. To help defend the stance that free will is an illusion, the proponents go further to argue that consciousness is just an observer, like a movie patron in a theatre. You can just watch what is happening but can't do anything about it. Thus, they construct the specious circular argument that you can’t have free will because free will requires consciousness by definition, and consciousness can’t do anything. How convenient! This absurd notion, held by academics who are not as smart as they think they are, assume that all our consciousness thinking is basically irrelevant. They assume that the neural activity of conscious thought cannot influence neural activity in other parts of the brain, even though they have to admit that the neurons that mediate conscious thought are functionally connected with the other parts of brain. By these connections, conscious thought can, for example, explicitly evaluate the meaning of stimuli, or order certain muscles to contract, or force mental effort to memorize, or change our emotional state and visceral functions in light of reason or mindfulness meditation, and so on. The circuitry of consciousness is not in a pickle jar outside the brain. It is inextricably bound to other brain circuits.

I certainly don't mean to dignify the anti-free-will position by describing it. However, debunking that position opens the door to reconsider the possible relationship between subconscious and conscious thought. Suppose conscious thought is an afterthought, but not in the restricted sense prescribed by the anti-free-will crowd. Just because subconscious thought can lead to conscious thought does not mean that conscious thought has no action of its own. When we consciously think about what we have recognized in consciousness, all that thinking is, by definition, conscious. Conscious thought can consider options explicitly. It can reason. It can set goals, plan, command action, evaluate consequences of action, and adjust programming as needed. Subconscious thinking can do that too. Most likely the two modes of thinking work in potentially synergistic ways, though it seems clear that conscious thought can veto subconscious impulses and bad ideas.

Consciousness as Selective Attention

Have you seen the U tube video of a pickup basketball game? The video instructs viewers to count how many times one of the teams pass the ball. Viewers are so focused on the task that many of them fail to see a man in a gorilla suite walk into the game, do a little chest pounding, and then walk off the court. The point is that the eyes and subconscious mind saw the gorilla, but not the conscious mind. The same phenomena has been confirmed in another context. The phenomenon is labeled by psychologists as "inattentional blindness." In other words, we are only conscious of targets of our attention.

Like all biological systems, brains are stimulus-response systems. Humans have unique ways to respond to stimuli and experience, in that their brains selectively identify the information content, evaluate it in terms of available optional responses, and then determines an appropriate response. Both subconscious and conscious thought can be involved, but conscious thought only operates on attended targets.

Scanning for Meaningful Impulse Patterns

While it is clear that conscious brains think, it may be useful to consider that consciousness is also a scanning mechanism. We don't know how such scanning is enabled by wakefulness, but we do know that the awake brain generates more regular oscillations of impulse activity. These oscillations arise in many localized subnetworks throughout the cortex, occurring at varying frequencies and extent of synchrony among other generators. Intracellular recordings of neurons reveal that one or a few spikes are generated each time the membrane depolarizes. Oscillation is a built-in feature of neural circuits which commonly oscillate because impulse output re-enters the circuitry that generates it. Increasing the frequency of oscillation increases the total impulse discharge because there are more depolarizations per unit of time. This increases the informational throughput in the network. Likewise, the degree to which multiple oscillators synchronize to share data modulates impulse throughput throughout linked circuits.

Perhaps the oscillation itself is the scanning mechanism. As novel or particularly relevant input enters an oscillating circuit, that circuit’s own impulse firing pattern may be disrupted, re-set, change frequency, or alter its time locking to other subnetworks. Enhanced time-locking among circuits could have the magnifying intensity effect that seems to be required in selective conscious attention. The carrying capacity for information is limited, because only subsets of networks in the global workspace synchronously engage at any one moment. This is one way to improve the signal-to-noise ratio of neural circuit processing.

Perhaps conscious thought is the afterthought of this scanning once it latches onto a subconscious thought that compels attention. Such a mechanism has great biological advantage in that it is a way for brain to scan through a noisy stimulus- and thought-world to identify signals that are salient for appropriate and selective processing and response. Once the target is captured in consciousness, conscious neural activity evaluates the salient signals and determines what to do about it and directs useful action. Taken in this light, I answer a tentative yes to my Quora questioner who wanted to know if all thinking originates in subconscious thinking.

Sources

Klemm, W. R. (2014). Mental Biology: The New Science of How the Brain and Mind Relate. New York: Prometheus.

Klemm, W. R. (2016). Making a Scientific Case for Conscious Agency and Free Will. New York: Academic Press.

https://www.youtube.com/watch?v=vJG698U2Mvo The original basketball game example of the invisible gorilla.

https://www.youtube.com/watch?v=UtKt8YF7dgQ A confirmation of the invisible gorilla in another context.

Remember, to get a full understanding of this post, you need the book, Thank You Brain for All You Remember.

Consciousness as Afterthought published first on https://buyessayscheapservice.tumblr.com/

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ramialkarmi · 7 years

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Christopher Nolan explains the biggest challenges in making his latest movie 'Dunkirk' into an 'intimate epic'

From instant classics like “Memento” and “Inception,” to his flawless “The Dark Knight” trilogy, director Christopher Nolan has spent his career telling unique stories while pushing the medium. And for his latest movie, “Dunkirk” (opening July 21), he’s pushed it further than most ever have.

Recounting the evacuation of close to 400,000 British soldiers from Dunkirk, France during World War II, Nolan tells the story in three parts: soldiers on the Dunkirk beach trying to survive as German planes drop bombs on them, British Spitfire aircraft trying to shoot down the German bombers, and civilian boats taking a day trip to assist in the evacuation.

In typical Nolan fashion, he goes beyond the norms to depict the events. Filmed with little dialogue and a non-linear story, powered by the ticking clock score of composer Hans Zimmer, it’s the incredible images filmed on an IMAX camera that move the story.

Business Insider spoke to Nolan about the challenges of making “Dunkirk,” using as little CGI as possible to pull off the action, casting Harry Styles in one of the main roles, and why he can’t get enough of the comedy “MacGruber.”

Jason Guerrasio: One of the big things I took away from the movie was how intimate the setting and characters were compared to the subject matter and the IMAX format. I hope that reaction doesn't disappoint you.

Christopher Nolan: No. I refer to it as an intimate epic. That was very much my ambition for this film. To immerse the audience in aggressively human scale storytelling, visually. And by contrasting multiple points of view but each told in a disciplined way. Try and build up a larger picture of the extraordinary events at Dunkirk.

Guerrasio: So was that one of the biggest challenges of pulling off this project? Condensing the events at Dunkirk into intimate storytelling.

Nolan: Well, the tension between subjective storytelling and sort of the bigger picture is always a challenge in any film, particularly when you're taking on, which I never have done before, historical reality. So I really wanted to be on that beach with those guys. I wanted the audience to feel like they are there. But I also need them and want them to understand what an incredible story this is. I never wanted to cut out generals in rooms pushing things around on maps, so I settled on a land, sea, and air approach. I settled on subjective storytelling shifting between very different points of view. You're there on the beach with the soldiers, you're on a civilian boat coming across to help, or you're in the cockpit of the Spitfire dogfighting with the enemy up above.

Guerrasio: That's what's crazy, though the story is told on a huge IMAX screen, the shots from inside the cockpit of the Spitfire feel claustrophobic.

Nolan: What I love about IMAX is with its extraordinary resolution and color reproduction it's a very rich image with incredible detail. It lends itself wonderfully to huge shots with much in the frame. Thousands of extras and all the rest. But it also lends itself to the intimate, the small, the detail, incredibly well. The high aspect ratio on those screens, you're getting the roof of the set, the water creeping in from the bottom, you can get a very tactile sense of the situation we're trying to present.

Guerrasio: You've done more with an IMAX camera on this movie than anyone has yet, is there something you will never try to attempt again with this equipment in a future movie?

Nolan: I think, to be perfectly honest, everything we managed to do with the IMAX camera has encouraged us to try more and more.

Guerrasio: So there wasn't one thing you were like, "Nope, never again."

Nolan: No. I think in truth the only real limitation for me of those cameras is we haven't found a way to make them sufficiently soundproof to record dialogue. For other filmmakers this wouldn't be a problem, but I personally really like to use the dialogue that's recorded live on set. I don't like to ADR [additional dialogue replacement] things. I think you lose something in the performance. So that means that any time there's a really intimate dialogue scene, I need to use another format. In this case, for "Dunkirk," we used 5 perf-65mm. So our kind of smaller format was the format “Lawrence of Arabia” was shot on.

Guerrasio: What is your approach to editing? It's important for every filmmaker but your stories are often told in a unique way where editing really must be a high priority. Do you edit while shooting?

Nolan: My approach to the edit is I have a great editor in Lee Smith who I have worked with for years, he edits as we go along. He assembles the film. I tend not to look at any of that. I don't cut while I'm shooting. I'm too busy shooting. I watch dailies every day the old fashioned way, which I'm surprised so few filmmakers do anymore. It used to be a requirement of the job. But we project our dailies on film everyday and we sit there and talk about what we've done and sort of steer the ship. Lee goes ahead and edits but I tend not to look at those cuts unless there's a problem. If he sees a problem and thinks we've missed something at that point I'll go in and look at stuff. But generally what I do is I wait until filming has finished and then we get into the edit suite and start again from scratch. We view all the data and we start building it up from the beginning.

Guerrasio: Was there any specific sequence in this movie that was a challenge in the edit?

Nolan: The aerial sequences were particularly challenging because the reality of aerial sequences is they are tremendous eye candy. You watch the dailies you just want to use everything. But you have to be constantly aware in the edit that story drives everything for an audience. And if there isn't a new story point being made you have to be disciplined, so in the aerial sequences we were throwing away some of the most incredible aerial footage that I've ever seen and not putting it in the film because that's what you have to do. You have to trust that with what you are putting in there you are going to convey that sense of visceral excitement and wonderment that you felt in the dailies. That's always a challenge and it takes a long time to hone the whole thing down from a longer cut to a shorter cut.

Guerrasio: I couldn't tell what was visual effects and what was practical in this movie, particularly the sinking destroyers and dogfights. How much visual effects were used?

Nolan: I’m very proud with the visual effects being as seamless as they are. I worked very closely with my visual effects supervisor, who was there shooting with me on set. He basically was doing himself out of a job because he was able to help me achieve things in-camera that would have actually been visual effects and then didn't need to be. So, there's really nothing in the film that isn't in some way based in some kind of practical reality that we put in front of the camera. We didn't want anything to go fully CG and I'm very proud to be able to say that of my films this is the first time when we've been able to make a film that I actually can't remember which of the shots are visual effects and which aren't in some of the sequences. We've never been able to get to that point before.

Guerrasio: So the Spitfire doing the water landing, that was a replica plane?

Nolan: Yeah, we built a full size replica Spitfire and landed it on the water for real. And we actually strapped an IMAX camera to it for the crash and the thing sank much more quickly than we anticipated, because you never know, no one has done this before. And in the hours it took to retrieve the IMAX camera its housing, which was a big plastic barrel, actually had a hole in it and the entire thing filled with water. So the camera was completely submerged. But we called the lab and they clued us into an old fashioned technique that used to be used on film shoots. You keep the film wet, you unload the camera, and you keep it damp the whole time. We shipped it back to Los Angeles from the set in France, and they processed it before drying it out and the shot came out absolutely perfect and it's in the film.

Guerrasio: Wow.

Nolan: Try doing that with a digital camera! [Laughs]

Guerrasio: The scores in your movies are always so memorable, how did the second hand on a clock ticking theme come to you, and how did that evolve with your composer Hans Zimmer?

Nolan: The screenplay had been written according to musical principals. There's an audio illusion, if you will, in music called a "Shepard tone" and with my composer David Julyan on "The Prestige" we explored that and based a lot of the score around that. And it's an illusion where there's a continuing ascension of tone. It's a corkscrew effect. It’s always going up and up and up but it never goes outside of its range. And I wrote the script according to that principle. I interwove the three timelines in such a way that there's a continual feeling of intensity. Increasing intensity. So I wanted to build the music on similar mathematical principals. Very early on I sent Hans a recording that I made of a watch that I own with a particularly insistent ticking and we started to build the track out of that sound and then working from that sound we built the music as we built the picture cut. So there's a fusion of music and sound effects and picture that we've never been able to achieve before.

Guerrasio: You certainly gained your auteur status some time ago, but you also manned a huge Hollywood franchise, I want your perspective on today's blockbuster making. Has the director's voice been lost in today's blockbuster? It seems producers like Kathleen Kennedy at Lucasfilm and Kevin Feige at Marvel Studios are making all the creative moves.

Nolan: I think the Hollywood machine as an industrial process, there's always been a tension between art and commerce in Hollywood filmmaking, so the machine itself is often looking for ways to depersonalize the process so that it is more predictable as an economic model. But in truth, thankfully for directors it never works. [Laughs] Not long term. The director is, I think, the closest thing to the all-around filmmaker on set. You need a point of focus, a creative point of focus, through which the rest of the team's input can be focused on and I think the director is the best person suited to do that. At the end of the day, I think directors have always been absolutely driving the creative process.

Guerrasio: But the argument can be made that currently the producers on particular tentpole projects are the creative point of focus and they then hire a crew, including a director, who will follow that vision. I'm sure you had to listen to your share of notes from Warner Bros. while making your Batman movies, could you make a franchise movie in today's conditions?

Nolan: I think those conditions are being overstated. Like, everyone talking about "Star Wars" as an example are willfully ignoring what J.J. Abrams did in the process. Which isn't appropriate, J.J. is a very powerful creator. Not to mention, George Lucas, by the way. [Laughs] I mean, there is a bigger reality here in terms of where these things actually come from.

Guerrasio: Obviously, there's always the originator. Which, thankfully, is an individual and not something done by committee.

Nolan: Well, and I don't think anybody thought that Jon Favreau was doing a sensible thing by casting Robert Downey Jr. as Iron Man, but what an incredible decision he made. There's an entire industry based on that now.

Guerrasio: Very true. And we can pivot that a little to you casting Harry Styles. Many were scratching their heads about that casting and I think many will see you’ve really discovered a talent. Do you pat yourself on the back with this one or was it casting director magic?

Nolan: Oh, I'm very much patting myself on the back. [Laughs] Well, I'm the guy who is always taking it on the chin if I make the wrong decision. The truth is ever since I cast Heath Ledger as The Joker and raised all kinds of eyebrows, I've recognized that this is my responsibility and I really have to spot the potential in somebody who hasn't done a particular thing before. Because whether you're taking about Harry Styles or Mark Rylance you don't really want to cast them in a position where they are doing something they've already done. You want to give the audience something different. So you're looking at their talent and how that can be used. The truth is, Harry auditioned for our casting director, he sent the tape along. The casting director rightly pointed out how good it was. We threw him into the mix with many, many other young men and he earned his seat at the table over a series of very hard-fought auditions.

Guerrasio: He's very good in the movie.

Nolan: I’m very excited for people to see what he has done in the film. I think it's truthful and it's a very tough role he's playing, too.

Guerrasio: Do you get to watch a lot of new releases? Do you try to keep up on everything?

Nolan: I do when I'm not working. It depends on what phase I'm working. Obviously, this year I've been very buried in my own process. But in between films I absolutely try to catch up on everything.

Guerrasio: When's the last time you've laughed uncontrollably while watching a movie.

Nolan: Oooo. [Pause]

Guerrasio: There has to be one.

Nolan: Oh, there are many, but I'm trying to think if there's a recent. You know, I've been outed in the past as a "MacGruber" fan and I have to say there are a couple of moments in that film that had been howling uncontrollably.

Guerrasio: Give me one in particular, I have to know.

Nolan: [Laughs] I'm not going to go any further!

SEE ALSO: The inside story of how "Spider-Man" star Tom Holland went undercover in a NYC high school to prepare to be Peter Parker

Join the conversation about this story »

NOW WATCH: Here’s what 'Double Dare' host Marc Summers is up to today

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symbianosgames · 7 years

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It’s been a few years now since virtual reality became mainstream. As the kinks are worked out and the wrinkles straightened, VR continues to open up new gameplay mechanisms with fascinating potential applications. It also offers an even deeper level of immersiveness. What responsibility does the developer have to the player?

Among the early games to take advantage of the intensity offered by virtual reality is Here They Lie. The title was released for PSVR back in October. As one of the pioneers of the horror genre’s arrival on VR devices, the game’s developers, the Sony Interactive Entertainment studio in Santa Monica, have already tread this new and unfamiliar territory, and having done so, can help shed light on the creative and ethical pitfalls that lie ahead. To that end, Cory Davis, creative director on Here They Lie, agreed to share some insights with Gamasutra.

He first makes clear that he and his team weren't pursuing cheap shocks. “I think in our game, instead of a direct rise and fall to jump scare, we had an element of bliss acting as this other zone we were pulling the player into," he says. "That to me can be just as surprising as a jump scare and anything else you might be able to set the player up for.”

The horror genre relies on tension, and as the architect of player experience, Davis admits his process is abstract and less formal than that of other developers, likening the difference to that between producing jazz and writing techno. But this worked well for Here They Lie, in that the team sought to achieve an unsettling tone by matching the pace of a hallucination, or a nightmare. Davis says they hand-tuned the process to create a balanced cycle that steered the player through several emotions through their peak, from dread, to terror, to pure bliss, the contrast of the latter acting as another level of surprise.

From the beginning of Here They Lie, the player character Buddy is in pursuit of a woman, Dana, who seems both connected to his past and to the dark events of the present. This dynamic gave the developers the chance to lead the player through events of varying impact to define the emotional cycle they sought to achieve.

The same mechanism that gives virtual reality an edge over traditional video game experiences may also present a hazard. It’s one thing to create a horror-based experience that, due to technical and physical limitations, will always limit the extent of the player’s immersion. VR, however, closes the sensory gap in ways that may hinder their immediate ability to distinguish fiction from reality.

Having made one of the first horror games in VR, Davis is aware of the added responsibility that interactive player experiences bring, noting that unlike his previous game, Spec Ops: The Line (which was presented as a first person shooter but fell more along the lines of psychological horror), the game was marketed honestly, acting as a warning to an audience that may be otherwise naive as to the intensity of the immersion.

“I do believe that it's good to have a reminder that this is a very extreme experience. [We’re] still in the infancy of what we're going to learn in terms of what these experiences can do.” He also cites the game cover, warning screens, and its Halloween season release as a fair indicator of what the player is in for, adding that the game also avoids graphic depictions of self mutilation or other types of gore that might be additionally upsetting in the first person perspective. The use of firearms or close-up extremes doesn’t appeal to Davis.

“I always have a really sort of extremely visceral reaction to firearms," he says. "They're not something you see in Here They Lie. Not that they're inherently more dangerous than a knife but I think if I were going to shoot you in the head… I don't know, I don't think I would shoot you in the head.”

He also draws a line between the horror paradigm and the proactive empowerment fantasies of most games, reflecting on how removal of player agency might have more impact in such an immersive first person setting.

“Say you’re in a shooter game and you're like ‘Oh I'm in cover, I got shot, and now I'm responding’. That is a different feeling than having someone tie you down and stick a gun to your head," he observes. "I don’t know if either one is good for you, but definitely the one that feels like a real life murder scenario is terrifying. That might need a special warning at the start of the game. “It should at least be marketed like a Call of Duty: Murder Death Trip 6!”

Davis likens the early stages of adapting horror to VR technology to psychedelic drugs, confessing that while some users will find it appealing to be a guinea pig testing the possibilities, that may not be the average player’s goals. “You're gonna find people that want to be astronauts, but that's not the average consumer. Me personally, if you’ve figured out how to create something that's gonna affect me psychologically, I'm going to be very tempted to be your guinea pig. But that's because I'm probably trying to learn something that I can apply to something I'm creating for other people. And you know maybe I can go a little bit further so I can take everyone else into the safe zone right behind me (laughs).”

A challenge in horror VR design is the player’s unpredictable reactive field of view. Any linear game with exploratory aspects runs the risk that the audience may not catch every cue or random event, some of which might be integral to the game’s core. You can lead a horse to water but you can’t make ‘em drink. Or in this case, you can curate a player experience but you can’t always ensure or predict their response. So how do you direct their attention while still maintaining a level of illusory freedom?

Davis argues that first person horror games have always had the potential to respond based on where the player is looking, but that most center their action around major events instead of experiential moments that transpire in a reactive environment.

“In Here They Lie, you walk into a new realm when a horror experience starts to happen around you," he says. "It’s almost like a hallucination or a nightmare because you're in a zone of horror. We're trying to get you into the situation to have a really unpredictable and interesting experience...so we're doing a lot of handcrafted timing tricks that had to do with where you're looking and where you might go and also using audio to foreshadow the small little tricks that we're trying to pull on you.”

“People are riding the razor's edge of their own expectations," he adds, "so you have to sort of predict what they might think is going to happen. And then make them wrong. And then make them right, at the right time.”

He compares the trick of anticipating and subverting player expectations in VR to sleight of hand. "We're naturally trained, in fight or flight situations, to have a heightened awareness of what might happen around us so that we can be reactive. That's just a really fun thing to play with."

He stresses that it's also an expensive thing to play with. "You need to have tools that allow you to evaluate those small details and the reactions people have, and be able to make the slightest adjustments to them without affecting the entire scene. You would not believe the amount of scripting that goes into a well-designed horror sequence. or the amount of it that you will never experience."

Davis says that the consequences of getting it wrong are profound. "All these small, little, tiny events, if you don’t design them correctly, can just cascade into maddening spaghetti wires of death that you'll have to rip out and redo over again just to get the smallest little effect of timing change that you may have learned is critical in order for the experience to play out correctly."

He claims that it's incredibly frustrating if you haven't designed your tools correctly. "You also have to build your scripting in a way that allows you to go back to the initial placements of the core foundation of the experience, and actually change them drastically and in a sort of fine tuned sort of way without causing an entire construct to collapse. You can think of each horror zone as a little realm that's almost an entire level's worth of scripting in and of itself.” Bad VR horror design can potentially cause as much unnecessary suffering for developers as it can for players.

#IFTTT #Blogger

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psychotherapyconsultants · 7 years

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Stressed Out Teens & Empathic Parents: What to Do When It’s Contagious?

Though we hear a lot about the effect of parents on children’s development, parenting, like other close relationships, is a reciprocal interaction — not a one-way street. Children with difficult challenges, such as executive function deficits, can tax any parent’s equilibrium. Parents of teens with such issues are often overwhelmed and under increased stress.

Repeated experiences of frustration and defeat in the context of a mounting problem can lead any parent to feel rejected, helpless and increasingly anxious. When, on top of this, there is a particularly strong empathic emotional connection or identification with the child, parents are at risk for falling into a common counterproductive parenting pattern fueled by excessive empathy, worry and guilt.

James, 16, was a good kid — well-liked by peers, teachers and other adults. He struggled at school and with homework due to intermingling executive function deficits, anxiety, and depression. Anxiety made it harder for him to think and focus, while the impact of feeling incompetent again and again generated more anxiety, dread, and depression.

James pretended he had everything under control but secretly felt stupid and ashamed. He desperately tried to escape blowing his cover using avoidance, procrastination, and cover up. At times, when agitation and panic spilled out, everyone’s instinct was to rescue him, for example, by letting him leave school to go home.

The course of this cycle of escape and inevitable crash was painfully obvious to his mom, Abby — who lived with an insidious feeling of anxiety and dread on her son’s behalf, that was uncannily similar to his own feelings. James was attached to his mom but acted irritable and rejecting when she asked him anything about his homework, yelling at her to leave him alone and accusing her of not trusting him. Though Abby was a good mom — smart, informed, and intuitive — she became increasingly cautious and tentative to avoided upsetting James — knowing how demoralized he could become.

What went wrong here?

Intuitive parents like Abby with a sensitive emotional connection to their teen can experience a vicarious visceral awareness of teens’ distress. Tuning in to teens is essential in order for parents to sense what teens are going through and for teens to feel seen. But, as in this example, empathy can go awry, functioning as a contagion effect in which parents “catch” teens’ pain and hone in on it. When this happens, parents in effect become a mirror of teens’ disabling feelings, and temporarily lose access to their own executive functions — leaving no one with sufficient distance, flexibility, perspective, or equanimity to help.

Abby was sensitively linked to James’ anxiety and dread of failure, to the point of experiencing these feelings on her own and his behalf, leading to colluding in anxious avoidance. This dynamic developed into an unhelpful pattern of cautious, overprotective parenting — a common problem afflicting parents who bear excessive anxiety and fear on their teens’ behalf, and/or their own.

The problem with over cautious, overprotective parenting:

Fearful of triggering James into feeling deflated, upset, or mad — Abby learned to tiptoe around him. Paradoxically, using kid gloves had the opposite effect — unconsciously communicating a lack of faith and validating his view of himself as weak, defective, and bad. This approach also left James’ emotions in charge and, not only gave him power he couldn’t manage, but fueled a cycle of irritability, guilt, and shame.

James mom did not speak about the truth they both knew — in an effort to protect him from feeling exposed and despondent. However, doing so perpetuated the ever-increasing burden of lies and isolation he had to bear. Further, from a skill building point of view, rescuing James by avoiding hard topics and letting him leave school when panicky, for example, rewarded avoidance by giving him instant relief. Alternatively, when escape isn’t available, it creates the space and incentive for teens to learn new strategies — if given the opportunity — breaking the cycle of avoidance.

Positive example of talking to teens about difficult things:

Abby sought help for James and parenting guidance for herself. Learning how to access a more composed frame of mind, Abby gained the ability to handle James differently and was able to rebound from times when she couldn’t .

James lied again about having handed in his research paper and other homework and his mom was on to him, as always.

Phase 1: Making a request, planning

This time, instead of asking him and pretending she believed him, she approached him and said, “James, I need 10 minutes to talk. (Time limited, manageable, neutral enough. Note that she isn’t telling him what he needs.) When can we do this?” (Respectful, considers his terms and timing.)

“Hey, I have an idea?” (If done in a positive tone authentically, this often works — encouraging curiosity. Wait to hear what he says.)

Phase 2: Setting the stage

“I want to tell you something as your mom — it’s not anything bad.” (alleviates fear).

“Can you agree to stay calm and not react…just listen and consider what I’m saying?” (Sets a manageable expectation; allows him to activate his executive functions and prepare rather than be taken by surprise and react instinctively, implies a positive expectation that he’s capable of this.)

“Afterwards, if you want to dismiss it that’s fine.” (Allows him autonomy and control, makes it more manageable.)

“Can you agree to do this? Or in some cases, use the challenge of “Do you think you can do that?” but only you think this won’t be perceived as blaming or condescending (gets his consent, making it more likely he’ll comply)

Phase 3: Delivering the message

“I’m not sure but I think (being tentative allows him to avoid a control struggle because you’re not telling him who he is) that when you feel things are too much — your natural reaction is to block them out and not think about things to get space and some peace (makes it sound understandable that he does this)

“I have the feeling that you may be in over your head right now and maybe haven’t handed stuff in (alleviates stress because the secret is out, without exposing him)

“I may be wrong (reinforces his autonomy, gives him freedom to consider it since you’re not forcing your belief on him)”

“But I’m just asking you to consider this — I don’t need you to give me an answer or anything. “

“If it were true (help him save face) I think there might be options we can think about together if you wanted to (offering to problem solve implies there are options even he doesn’t take you up on it then).

Approaching — rather than avoiding — problems using a confident, matter-of-fact, respectful demeanor and time-limited, planned approach can desensitize teens to their fear of anxiety (the cause of panic). The accumulated experience of doing this expands teens’ capacity to tolerate feelings rather than have meltdowns.

A calm and balanced emotional climate provides the backdrop teens need to stretch themselves without becoming flooded or avoidant — challenging teens within the limits of their capacity (not too little and not too much). When Abby was able to be forthright, courageous and calm while facing difficulties with James, she appealed to his higher level of functioning. Interestingly, when she did this he often succeeded in living up to these expectations.

Through their interactions Abby gave James the chance to experience himself as more capable and cooperative, as well as relieve the burden created by having to hide and cover up. Vicarious transmission of feelings in closely linked parents and teens can be a risk factor for unhealthy contagion, but can also give parents an edge in impacting teens positively when parents are able to “hold their own.”

Through staying grounded and steady, Abby was able to create a better, healthier relationship with her son — which is parents’ most important tool and teens’ most protective resource. In addition, through their connection, James’ mom also transmitted to him the tune of a more regulated state of mind.

Disclaimer: The characters from these vignettes are fictitious. They were derived from a composite of people and events for the purpose of representing real-life situations and psychological dilemmas that occur in families.

from World of Psychology http://psychcentral.com/blog/archives/2017/01/16/stressed-out-teens-empathic-parents-what-to-do-when-its-contagious/

#World of Psychology

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positivepsychologyinterventions · 7 years

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Stressed Out Teens & Empathic Parents: What to Do When It’s Contagious?

What went wrong here?

The problem with over cautious, overprotective parenting:

Positive example of talking to teens about difficult things:

James lied again about having handed in his research paper and other homework and his mom was on to him, as always.

Phase 1: Making a request, planning

“Hey, I have an idea?” (If done in a positive tone authentically, this often works — encouraging curiosity. Wait to hear what he says.)

Phase 2: Setting the stage

“I want to tell you something as your mom — it’s not anything bad.” (alleviates fear).

“Afterwards, if you want to dismiss it that’s fine.” (Allows him autonomy and control, makes it more manageable.)

Phase 3: Delivering the message

“I have the feeling that you may be in over your head right now and maybe haven’t handed stuff in (alleviates stress because the secret is out, without exposing him)

“I may be wrong (reinforces his autonomy, gives him freedom to consider it since you’re not forcing your belief on him)”

“But I’m just asking you to consider this — I don’t need you to give me an answer or anything. “

from World of Psychology http://ift.tt/2jqCvSg via IFTTT

#IFTTT #World of Psychology

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toolsnotrules-blog · 7 years

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Interview: Ryan Daniel Beck

Ryan Daniel Beck is a contemporary dancer, choreographer, and visual artist. I'm not sure if he'd describe himself as a philosopher but, after reading his interview, I'm sure you'll agree he's an active thinker on a whole bunch of levels.

How would you describe you what is it that you do?

I consider myself a visual art teacher, working through the medium of dance. Unlike the static forms of sculpture, photography, or painting, my medium is constantly changing and evolving, but the underlying principles of visual art remain constant.

Have you always done this for a living or did you transition from something else? What triggered your decision to make a change?

Prior to teaching and choreographing, I was a working dancer, performing around the world. I danced for Beyonce, Black Eyed Peas, as well as concert work with MOMIX, Danny Ezralow, and Dario Vaccaro.

What is the most challenging thing about practicing your craft? How do you deal with that challenge?

The biggest challenge for choreographers and teachers relates to funding and time management. Fortunately, I have had some serendipitous opportunities that allowed me to pursue choreography and teaching in an unfettered way. I know many teachers and choreographers who simultaneously juggle multiple jobs just to continue practicing their craft. It must be a labor of true love, otherwise it would be too frustrating and unsustainable.

Do you still practice? If so, what do your practice sessions look like?

My personal practice sessions are primarily geared toward conditioning and maintenance of my own instrument (the body). I ask a great deal from my dancers, and I believe in leading by example. I would never ask a dancer to do something that I am not able to physically demonstrate (knock on wood).

Where do you find inspiration?

Inspiration for me comes in the form of a curious mind. I strive to maintain an attitude and environment of saying “yes” when a new experience presents itself. Whether it is a food I’ve never tried, a location I’ve never seen, a film I’ve never viewed...whatever. As a visual artist, shapes, forms, textures, lines, geometry, symmetry, asymmetry all inspire my movement in different ways. And all these things give me information when I am developing new processes of creation. The final dance is just a documentation of the process that my dancers and I conducted.

Where are you when you have the most a-ha moments?

Usually in the dance studio. There is a quote that says, “Creativity is making mistakes, Art is knowing which ones to keep.” When I am in the studio with dancers, we intentionally create a playful atmosphere, that allows us to make lots of “mistakes.” My job is to select a handful of these “mistakes” and mold them in a meaningful, mindful way.

What do you do to maintain a creative flow?

One of my personal favorite exercises, involves the Russian Turkish bath on East 10th. It is wonderfully shabby establishment, rich in history and culture. The heat is almost unbearably intense, and will “creatively meditate” in that warm darkness. Something about the tranquility of the flowing water and the visceral sting of the radiant heat, creates a highly sensory mental place that feeds my creativity immensely. My mind goes wild when I am there.

How much do you rely on feedback from others to help shape your ideas?

Feedback is helpful when I am creating an immersive environment for the audience. However, if I am making a statement through my work, I am more concerned with the authentic justification that I use as the foundation for my movement. And since this authenticity originates internally, I tend to disregard outside feedback, since it lacks the perspective that I have in the first person. Its like putting on noise cancelling headphones to create the sensitivity required to hear your inner voice.

What is the greatest obstacle to creativity?

If you work from a process-based approach, you must take into account that the process will yield a final product, but it might take some time. Its like waiting for a seed to germinate. The commercial market demands high productivity and prolific content. But the smart artist knows that each process is different, and sometimes quality takes time. For example, Pina Bausch would create just one show a year, since six months of rehearsal was dedicated to research. For Richard Serra’s first show, his process involved hundreds of experiments with different material combinations, resulting in just few, interesting “mistakes” that made the final cut and were included in the gallery exhibition. But it literally takes hours and hours to drudge through the “process” before the final product reveals itself.

When you complete a project, how often does it resemble your initial concept or conceived idea? How important is this for you?

It depends on the client and the project. If I am working in a commercial environment, it is more important that the client is satisfied and happy with the result. So in this instance, I play a much more active role in making sure that the result falls within “industry standard.” Its as if a client says, “I want something that tastes like a Caramel Machiatto from Starbucks.” Well, in that instance, I am not going to generate a process that “might” yield a product that tastes like a dirty martini. It must fall within the client’s expectations, but with a “signature twist”. Using the coffee analogy, I would make sure that the product tastes like Starbucks, but was served in far more sophisticated glass, with an unexpected flourish of cinnamon garnish. In this way, the client is satisfied, and I can walk away from the project having improved the original concept. On the other hand, if I have the luxury of time and there are no pre-determined expectations to be met, I love to go on a wild adventure, without any notion of where the final product will take us!

How do you know when you’re done?

In the same way you know that you are done eating...you feel full and satisfied

How do you resolve creative differences with clients or creative partners?

If its a commercial client, the trick is to allow them to think that the idea was their own. This is especially true if I am dealing with a middle manager, who is trying to impress their superior (CEO, director, etc) I am more than happy to lavish credit on someone for an artistic choice, knowing that the long term dividends are more valuable than short term validation. On the other hand, if I am collaborating with other creatives on project, I am careful to choose like-minded individuals, who understand that no one “owns” any idea, and we are all on the same mission to find the BEST solution for the show, no matter whether it originates from me or someone else. Leave the creative ego at the door.

What keeps you motivated even if you don’t connect personally with the project?

I probably wouldn’t agree to do a project that failed to resonate with me personally….I mean, what’s the point? I suppose I could do it for financial reasons, but to me, art is sacred and I would feel massively uneasy doing something “artistic” just to pay bills. I would rather do something non-artistic or gratis.

What do you do when you are stuck and have some sort of deadline or other pressure?

I am very proactive in making sure I don’t get stuck in the first place. I am constantly creating content and documenting it. I am perpetually writing down ideas for future processes I want to try. I don’t wait for a deadline to present itself and then create. I have a stockhouse and reservoire of ideas and concepts ready and waiting when the opportunities present themselves.

How do you achieve your creative vision with a limited budget?

One of the beauties of process based art, is that you become keenly aware and skilled in the art of “rules.” A creative process is like a game that you play for a specific project. And like all games, it has “rules.” For example, I might say that today’s dance project has three rules: “all the movement must be related to the color green, it can only involve your elbow and your hips, and it must alternate between stillness and bursts of speed.” Interestingly, people generally associate “rules” with limitations, but in this sense, it gives my dancers a focused and specific area, within which they are able to play and explore. If I give them too many choices, it becomes overwhelming and unfocused. So to answer the question, if budget is an issue, I will simply incorporate it into the “rules” of that project. Humans have been creating works of art for thousands of years, with little to no “resources” at all. For the tenacious artist, a “limited budget” is just an opportunity in disguise.

What are the top 3 tools in your creative tool kit? ie. software, pencil, paper, journal etc.

1. My passport

2. My music editing software

3. My five senses

What are the top 3 creative habits that have proven to be the most useful for you in your career?

1. Constantly replacing self-doubting thoughts, with what I know to be true internally

2. Surrounding myself with non-dancers (designers, musicians, animators, physicists, etc)

3. Living everyday with a deep sense of gratitude and curiosity

If you could offer a single piece of advice to a budding professional, what would it be?

Originality is innate...you were “original” the day that you were born...therefore, since originality comes from within, it is not an external goal to be discovered….the more sensitive you are to your inner voice, your background, your heritage, the smell of your grandmother’s kitchen, the texture of your lover’s skin, the time you got stranded in Albuquerque, the moment you realized that you were no longer a virgin, the earliest memories you had from childhood, your most personal insecurities, your receding hairline, your cellulite, your bad ankle….every single thing that makes you who you are….when you bring all of this into your art, it is DEEPLY original and no one can deny you that….they might be able to critique your execution, but they can never argue your source….PERSONAL IS UNIVERSAL

#Interview

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bradmack · 7 years

Text

Interview: Ryan Daniel Beck

How would you describe you what is it that you do?

Have you always done this for a living or did you transition from something else? What triggered your decision to make a change?

Prior to teaching and choreographing, I was a working dancer, performing around the world. I danced for Beyonce, Black Eyed Peas, as well as concert work with MOMIX, Danny Ezralow, and Dario Vaccaro.

What is the most challenging thing about practicing your craft? How do you deal with that challenge?

Do you still practice? If so, what do your practice sessions look like?

Where do you find inspiration?

Where are you when you have the most a-ha moments?

What do you do to maintain a creative flow?

How much do you rely on feedback from others to help shape your ideas?

What is the greatest obstacle to creativity?

When you complete a project, how often does it resemble your initial concept or conceived idea? How important is this for you?

How do you know when you’re done?

In the same way you know that you are done eating...you feel full and satisfied

How do you resolve creative differences with clients or creative partners?

What keeps you motivated even if you don’t connect personally with the project?

What do you do when you are stuck and have some sort of deadline or other pressure?

How do you achieve your creative vision with a limited budget?

What are the top 3 tools in your creative tool kit? ie. software, pencil, paper, journal etc.

1. My passport

2. My music editing software

3. My five senses

What are the top 3 creative habits that have proven to be the most useful for you in your career?

1. Constantly replacing self-doubting thoughts, with what I know to be true internally

2. Surrounding myself with non-dancers (designers, musicians, animators, physicists, etc)

3. Living everyday with a deep sense of gratitude and curiosity

If you could offer a single piece of advice to a budding professional, what would it be?

#Interview

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hungeri-blog1 · 7 years

Text

ALIENS are US

Concept of ALIEN: ANY SOUL WHOSE PRIMARY DEVELOPMENT IS MORE THAN 51% IN HIGHER FREQUENCY DIMENSIONS AND LESS THAN 49% IN THE 3RD DIMENSION.

For me personally, it wasn't until I was about age forty in 1993 that I experienced a shift in my energies and started feeling more alien--i.e. more comfortable in other dimensions--than the earth plane. Up until then, my development felt almost perfectly balanced 50-50 between development in this plane and sojourns in other dimensions. And while I would say that I had a preference for sojourns in the earth plane before this time, after this--while I still have a great fondness for the earth--I no longer seem to feel any preferences between dimensions.

This feeling of non-preference was certainly reinforced ever since my soul mate, Jim Rush, passed over in 1997 at the age of sixty. Since then, his ongoing communion on to other dimensions continues to loosen any vestiges of attachment to being in any particular plane of consciousness with me and the occasional trips--or waking dreams--he takes me.

But for whatever the good reason: being a trance channel since 1972, feeling more grounded and stable from Taoist practices, or the Galactic Forces bombarding the plane to shift us all more towards the Light--or probably all of the above--I began to feel definitely as if I was more comfortable and more aware of being in other dimensions, while simultaneously being present in this body and this incarnation. In other words, my expanded concept of identity shifted its perspective to the purpose that it became viscerally integrated into my being.

Over time, my desire to paint began to fall away and my creative focus shifted to writing books, articles, newsletters and teaching workshops from this expanded concept of self perspective. And, in me marked a midpoint in my journey from coming in for a landing in this incarnation (right in the middle of my Uranian opposition cycle, BTW) to an awareness that I am now on the return-ticket portion of this ride while I still keep half of the portraits in my office focused in this dimension and half focused from other dimensions--to make ALL my clients feel at home--this shift.

What Does It All Mean?

You read my definition of aliens and can identify with not feeling at home or comfortable with your emotions, bodies or in the earth plane itself--welcome to the 10% (and growing all the time) of souls incarnate in the earth plane whose primary development is in other dimensions if you feel relief when.

The movie comedy, Men in Black, addressed this theme, with the premise that all aliens were delegated to remain on the island of Manhattan and maintain a human disguise. When, I saw this movie I wanted to yell at the screen, "They've all been confined to the East Village of Manhattan." And, yes, it's true! The neighborhood I live in has a disproportionate number of alien residents, literally, and I don't mean just off their countries.

On any Saturday summer night when I am people-watching from a sidewalk cafe, there are so many aliens, even with their alien pets, promenading up and down the main drag, St. Marks Place, and NOT all in disguise,, that it literally looks like a real-life version of the intergalactic cocktail bar in the original Star Wars movie.

On a slightly more serious note, what do I have to say about the clients who come to me in a way that is empowering to them to make the most of their experiences because they believe they've had alien sightings, alien implants or been abducted by aliens, etc.? Well, this is what I have to say: I work with anyone who comes to me. I don't argue, debate or dispute--but rather create a bridge reality so that we can work in a positive way going forward with whatever history, beliefs or fears they bring to me.

Just like in medication the placebo effect has been proven to be effective as a treatment--equally as much as drugs--over 30% of the full time, I think in the power of this mind to create our realities that are personal perspective and experiences. Therefore, in the most helpful way so that they can use their experiences as soul lessons for karmic healing while I have not personally had some of the experiences my clients bring to me to resolve, I do not discount them, but rather chose to work with them.

I call myself a "full-service psychic." This means that I've had people come to who believe they've been possessed by demons, discarnate entities, ghosts, aliens or whatever. My method of working with these kinds of clients is to empower them to acknowledge that--at a higher level of their being--they've chosen this experience and reality that is personal extremely specific karmic lessons which I can help them to own and integrate.

Almost all clients who believe they are "taken over"or "possessed" in some way are usually holding some very limiting karmic fear-based beliefs in which they think they're powerless over more effective and usually dark "outside forces"and so feel themselves energetically like they can't protect.

The great sleeping prophet of the 20th century said, "Mind is the Builder. as Edgar Cayce" And if we don't believe something is possible for us--then we can't manifest it.

For a more detailed explanation of this kind of projection, SEE MY ARTICLE ON SELFGROWTH: Owning Our Inner Pluto before . . . It Eats Us for Lunch

While I do not allow anyone to breach my psychic boundaries and feel strong and confidant in maintaining them, it has taken me much work over many decades to get here. Therefore, I empathize with anyone who does not believe it's possible to have this charged power within unique being. This is the very reason that I've selected to pass on my personal personal psychic empowerment methods. For lots more on this: EMPOWERMENT PRACTICES

Ultimately, my philosophy is: One Being===billions of faces. And this perspective that is metaphysical not only the horizontal axis of the earth plane--but also the vertical channel to higher dimensions as well. This means that, at the level approaching absolute reality, there are no horizontal boundaries that separate all souls incarnate in the world in terms of the cocreative Divine energies all of us are made up of. And vertically, there is nothing that separates us from beings in other dimensions--as we're also all made up of the same Divine stuff.

Once we dissolve the illusionary boundaries between ourselves and others--horizontally and vertically--at the level of relative truth in this plane of duality and, once we get a taste of how it is to be in all spaces and times simultaneously through spiritual practices, THEN this multidimensional game we're all playing in becomes much more cozy and much more fun. Aliens are us--indeed!

Right Back Story

For almost forty years, I've been painting portraits of Beings in what I call "Alternate Realities." In 1982, during the solo that is first of my work in Soho (NYC) entitled "Visions and Dreamworks," I had a small back room filled with figurative portraits from this reality and a large main gallery room filled with over a dozen portraits of what the mass consciousness would call "Aliens" or "ETs."

One of the most humorous aspects of this show, for me anyway, was that, while I had been stoned on grass when I painted all the figurative portraits, most of the alternate reality portraits had been done once I'd cleaned up my act and was in recovery. Most everyone during the opening thought for sure it was the other way around.

http://clashofclanscheats.us/ But the joke that is real yet to come. At the opening, me, "Where did you get the idea for all these aliens? as I was standing in the center of the main room, someone asked" Before I answered, I did a 360 degree scan of all the portraits. That's when, as if I'd been struck by lightning, I realized undeniably: THEY'RE ALL ME! .

Since 1972, I'd been channeling readings from an assortment of sources as I expanded the range of what my channels called my channel system that is"open." Most of the soul readings I did for others evolved from an original contact in the (Akashic) Hall of Records who initially called himself the Sympathetic Bridge Recorder. Then, over time, this Akashic contact merged with a group or gestalt of souls whoever function was to maintain and monitor the Soul Records at the particular level of the 6th dimension of consciousness, also known as the plane that is causal.

There were numerous other channels that came through in the early years. Some seemed much further out in frequency and tone than the ones I used with clients and originally labeled themselves: "From the other side of the Universe." Then, over time, these channels stabilized and began calling themselves the Highest Available Galactic Forces (acronym: HAGF). This channel, whom I call "my bosses," is the one I still use for my own readings in my personal marching orders as they direct me. HAGF is also the channel I utilize for readings of a planetary, global or perspective that is galactic well as setting the theme and tone for most of my newsletters these days.

Just about the time I had the revelation about the true identity of my "altered state" or "alien" portraits, my channels informed me--in no uncertain terms that: They (meaning all my channels) were: All me "all along." The various channels had just been labeling themselves for my convenience for over a decade and so as not to put me into shock by giving me more info than I was prepared to carry out. So, it seems it took over a decade of being a trance channel for my self that is"little ego/personality to be stable and right-sized (haha) enough to handle this concept of expanded identity. And I'm nevertheless working on it.

For a more detailed description of this process: Openings, a Guide to Psychic Living in the Real World, Part V, The Personal Development of this Channel System and Part VI, Channels of Influence.

Summation

About 10% or so of the people who arrive at me personally for soul readings are informed that their primary development is predominantly--meaning at least 51%--in other dimensions and are thus defined as "aliens"in terms of exactly what dimension they would be most comfortable home"to that is"phoning. The hallmarks of alien development are feeling: quite uncomfortable with the human range that is emotional the physical body and/or being at home in the thickness of the earth airplane at all.

The majority that is vast of who receive the news that their primary development is alien are incredibly relieved and many are not even very surprised at all, as their reading just confirmed what they, at least subliminally, already knew. And, learning that their spouses and children were many times of alien development as well, made it feel very right and cozy for them--even if they were advised to not necessarily share this info with their loved ones.

I also began working with quite a few of these alien souls in my psychic therapy process--with a special focus on helping them "come in for a landing." in terms of releasing any limiting karmic (or alien) beliefs, fears or aversion that kept them from fully embracing their assignment for this incarnation. This usually entailed rounding out their soul development through a cycle of lives of full immersion in the earth plane and full development of the range of humanness through different roles and scenarios, with a special focus on experiencing the human repertoire that is emotional.

These 10% are also the therapy clients whom give themselves the light that is green go further out into higher frequency dimensions than the causal plane as part of their work with me. Most clients choose to stabilize at the dimension that is 6th (that we also call "the Universal Flow State" or "Cosmic Ocean of Consciousness") because the optimal frequency to keep if they want to be able to simultaneously function in the earth plane. The plane that is causal also where one can learn how to access the Records and channel readings for themselves and others. And for most clients, I concur that going further out than the 6th dimension is not optimal for stabilization while in a 3D incarnation.

But, for those souls with alien development, going even further out and stabilizing in their 7th dimension functions and frequencies while starting up the space/time continuum with me, but the ultimate joy for them--and for me so they can experience being here and there simultaneous is, not just the culmination of their therapy.

Read More Articles about ALIENS are US on my blog http://hungeri.tumblr.com/

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ramialkarmi · 7 years

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Christopher Nolan explains the biggest challenges in making his latest movie 'Dunkirk' into an 'intimate epic'

In typical Nolan fashion, he goes beyond the norms to depict the events. Filmed with little dialogue and a non-liner story, powered by the ticking clock score of composer Hans Zimmer, it’s the incredible images filmed on an IMAX camera that move the story.