Architects: Leyk Wollenberg Architects
Location: Jean-Monnet-Straße 2, Berlin, Germany
Architect In Charge: Leyk Wollenberg Architects
Design Team: Dietmar Leyk, Petra Wollenberg with Inken Blum, Florian Spaelty, André Rossmann
Area: 320 sqm
Year: 2012
Photographs: diephotodesigner.de
The restaurant for the German headquarters of the French energy company Total, designed by lwa, has been completed. The new headquarters are sited at Europaplatz in Berlin, in the newly built Tour Total, close to Berlin main station.
The employee restaurant plays a key role during the daily life of the 600 Total employees. The understanding that the restaurant should be inextricably a part of everyday worklife establishes the starting point for this design. It represents the most important place for informal communication between all hierarchies of the company.
The design is based on a basic „room in room“ concept. An L-shaped space of the restaurant, the frame, defines the dining area. In between frame and food counter a continuous white floor creates the neutral light background for the whole set of elements and provides a generous space for movement. Both, dining area and food counter are crafted from oak wood stained in black. To accomplish a high grade of depth these surfaces are structured with a rhythm of vertical wooden strips. The light interior forms a strong contrast with the solid outer appearance. Partition screens create a forest of 750 champagne coloured anodized aluminium tubes with different diameters. They divide the large dining area into small private spheres. At the same time these screens act as filter to allow visual connections and create intimacy. Through its specific colour and its diverse light reflexions they evoke a unique sensuality and establish a warm atmosphere. The inner surface of the frame and its furniture are made of white glazed oak wood, which covers floor, walls and ceiling. All furnishing, tables and seating are designed as pure basic elements made from the same wood as the inner frame.
A variety of different dining situations offer areas for comfortable dining, spontaneous stopovers, espresso breaks, or even smaller conferences.
The drinking water well, a special element, which represents a traditional element in the companies’ rituals, has been integrated in the screen.
The lighting of the whole restaurant was designed in relation to its character as dining-living room for relaxation, to underline its fluid spatial arrangement, and to accentuate its sensitive materialization. The dining area is illuminated by a number of miniature energy saving LED-lights to create a large variety of different mood scenarios. Depending on the culinary experience or the kind of festivity the lighting changes in regards to a pre-programmed digitally controlled setting. All lights are integrated in such a way that not the light as object but the orchestration of light in space stands in the foreground.
eu fico variando entre a raiva e o nada, mas na maioria das vezes sinto rava quando as pessos ignora meus peixes mortos e acham que é só e fazer uma forcinha e eles vão ressucitar.
I remember being endlessly entertained by the adventures of my toys. Some days they died repeated, violent deaths, other days they traveled to space or discussed my swim lessons and how I absolutely should be allowed in the deep end of the pool, especially since I was such a talented doggy-paddler.
I didn't understand why it was fun for me, it just was.
But as I grew older, it became harder and harder to access that expansive imaginary space that made my toys fun. I remember looking at them and feeling sort of frustrated and confused that things weren't the same.
I played out all the same story lines that had been fun before, but the meaning had disappeared. Horse's Big Space Adventure transformed into holding a plastic horse in the air, hoping it would somehow be enjoyable for me. Prehistoric Crazy-Bus Death Ride was just smashing a toy bus full of dinosaurs into the wall while feeling sort of bored and unfulfilled. I could no longer connect to my toys in a way that allowed me to participate in the experience.
Depression feels almost exactly like that, except about everything.
At first, though, the invulnerability that accompanied the detachment was exhilarating. At least as exhilarating as something can be without involving real emotions.
The beginning of my depression had been nothing but feelings, so the emotional deadening that followed was a welcome relief. I had always wanted to not give a fuck about anything. I viewed feelings as a weakness — annoying obstacles on my quest for total power over myself. And I finally didn't have to feel them anymore.
But my experiences slowly flattened and blended together until it became obvious that there's a huge difference between not giving a fuck and not being able to give a fuck. Cognitively, you might know that different things are happening to you, but they don't feel very different.
Which leads to horrible, soul-decaying boredom.
I tried to get out more, but most fun activities just left me existentially confused or frustrated with my inability to enjoy them.
Months oozed by, and I gradually came to accept that maybe enjoyment was not a thing I got to feel anymore. I didn't want anyone to know, though. I was still sort of uncomfortable about how bored and detached I felt around other people, and I was still holding out hope that the whole thing would spontaneously work itself out. As long as I could manage to not alienate anyone, everything might be okay!
However, I could no longer rely on genuine emotion to generate facial expressions, and when you have to spend every social interaction consciously manipulating your face into shapes that are only approximately the right ones, alienating people is inevitable.
Everyone noticed.
It's weird for people who still have feelings to be around depressed people. They try to help you have feelings again so things can go back to normal, and it's frustrating for them when that doesn't happen. From their perspective, it seems like there has got to be some untapped source of happiness within you that you've simply lost track of, and if you could just see how beautiful things are...
At first, I'd try to explain that it's not really negativity or sadness anymore, it's more just this detached, meaningless fog where you can't feel anything about anything — even the things you love, even fun things — and you're horribly bored and lonely, but since you've lost your ability to connect with any of the things that would normally make you feel less bored and lonely, you're stuck in the boring, lonely, meaningless void without anything to distract you from how boring, lonely, and meaningless it is.
But people want to help. So they try harder to make you feel hopeful and positive about the situation. You explain it again, hoping they'll try a less hope-centric approach, but re-explaining your total inability to experience joy inevitably sounds kind of negative; like maybe you WANT to be depressed. The positivity starts coming out in a spray — a giant, desperate happiness sprinkler pointed directly at your face. And it keeps going like that until you're having this weird argument where you're trying to convince the person that you are far too hopeless for hope just so they'll give up on their optimism crusade and let you go back to feeling bored and lonely by yourself.
And that's the most frustrating thing about depression. It isn't always something you can fight back against with hope. It isn't even something — it's nothing. And you can't combat nothing. You can't fill it up. You can't cover it. It's just there, pulling the meaning out of everything. That being the case, all the hopeful, proactive solutions start to sound completely insane in contrast to the scope of the problem.
It would be like having a bunch of dead fish, but no one around you will acknowledge that the fish are dead. Instead, they offer to help you look for the fish or try to help you figure out why they disappeared.
The problem might not even have a solution. But you aren't necessarily looking for solutions. You're maybe just looking for someone to say "sorry about how dead your fish are" or "wow, those are super dead. I still like you, though."
I started spending more time alone.
Perhaps it was because I lacked the emotional depth necessary to panic, or maybe my predicament didn't feel dramatic enough to make me suspicious, but I somehow managed to convince myself that everything was still under my control right up until I noticed myself wishing that nothing loved me so I wouldn't feel obligated to keep existing.
It's a strange moment when you realize that you don't want to be alive anymore. If I had feelings, I'm sure I would have felt surprised. I have spent the vast majority of my life actively attempting to survive. Ever since my most distant single-celled ancestor squiggled into existence, there has been an unbroken chain of things that wanted to stick around.
Yet there I was, casually wishing that I could stop existing in the same way you'd want to leave an empty room or mute an unbearably repetitive noise.
That wasn't the worst part, though. The worst part was deciding to keep going.
When I say that deciding to not kill myself was the worst part, I should clarify that I don't mean it in a retrospective sense. From where I am now, it seems like a solid enough decision. But at the time, it felt like I had been dragging myself through the most miserable, endless wasteland, and — far in the distance — I had seen the promising glimmer of a slightly less miserable wasteland. And for just a moment, I thought maybe I'd be able to stop and rest. But as soon as I arrived at the border of the less miserable wasteland, I found out that I'd have to turn around and walk back the other way.
Soon afterward, I discovered that there's no tactful or comfortable way to inform other people that you might be suicidal. And there's definitely no way to ask for help casually.
I didn't want it to be a big deal. However, it's an alarming subject. Trying to be nonchalant about it just makes it weird for everyone.
I was also extremely ill-prepared for the position of comforting people. The things that seemed reassuring at the time weren't necessarily comforting for others.
I had so very few feelings, and everyone else had so many, and it felt like they were having all of them in front of me at once. I didn't really know what to do, so I agreed to see a doctor so that everyone would stop having all of their feelings at me.
The next few weeks were a haze of talking to relentlessly hopeful people about my feelings that didn't exist so I could be prescribed medication that might help me have them again.
And every direction was bullshit for a really long time, especially up. The absurdity of working so hard to continue doing something you don't like can be overwhelming. And the longer it takes to feel different, the more it starts to seem like everything might actually be hopeless bullshit.
My feelings did start to return eventually. But not all of them came back, and they didn't arrive symmetrically.
I had not been able to care for a very long time, and when I finally started being able to care about things again, I HATED them. But hatred is technically a feeling, and my brain latched onto it like a child learning a new word.
Hating everything made all the positivity and hope feel even more unpalatable. The syrupy, over-simplified optimism started to feel almost offensive.
Thankfully, I rediscovered crying just before I got sick of hating things. I call this emotion "crying" and not "sadness" because that's all it really was. Just crying for the sake of crying. My brain had partially learned how to be sad again, but it took the feeling out for a joy ride before it had learned how to use the brakes or steer.
At some point during this phase, I was crying on the kitchen floor for no reason. As was common practice during bouts of floor-crying, I was staring straight ahead at nothing in particular and feeling sort of weird about myself. Then, through the film of tears and nothingness, I spotted a tiny, shriveled piece of corn under the refrigerator.
I don't claim to know why this happened, but when I saw the piece of corn, something snapped. And then that thing twisted through a few permutations of logic that I don't understand, and produced the most confusing bout of uncontrollable, debilitating laughter that I have ever experienced.
I had absolutely no idea what was going on.
My brain had apparently been storing every unfelt scrap of happiness from the last nineteen months, and it had impulsively decided to unleash all of it at once in what would appear to be an act of vengeance.
That piece of corn is the funniest thing I have ever seen, and I cannot explain to anyone why it's funny. I don't even know why. If someone ever asks me "what was the exact moment where things started to feel slightly less shitty?" instead of telling a nice, heartwarming story about the support of the people who loved and believed in me, I'm going to have to tell them about the piece of corn. And then I'm going to have to try to explain that no, really, it was funny. Because, see, the way the corn was sitting on the floor... it was so alone... and it was just sitting there! And no matter how I explain it, I'll get the same, confused look. So maybe I'll try to show them the piece of corn - to see if they get it. They won't. Things will get even weirder.
Anyway, I wanted to end this on a hopeful, positive note, but, seeing as how my sense of hope and positivity is still shrouded in a thick layer of feeling like hope and positivity are bullshit, I'll just say this: Nobody can guarantee that it's going to be okay, but — and I don't know if this will be comforting to anyone else — the possibility exists that there's a piece of corn on a floor somewhere that will make you just as confused about why you are laughing as you have ever been about why you are depressed. And even if everything still seems like hopeless bullshit, maybe it's just pointless bullshit or weird bullshit or possibly not even bullshit.
I don't know.
But when you're concerned that the miserable, boring wasteland in front of you might stretch all the way into forever, not knowing feels strangely hope-like.
Architects: Barry J. Hobin & Associates Architects Inc
Architect In Charge: Barry J. Hobin & Associates Architects Inc
Structural: A.J. Garwood & Associates
Landscape: John K. Szczepaniak
Area: 4800.0 sqm
Year: 2012
Photographs: Courtesy of Barry J. Hobin & Associates Architects Inc
Interiors: Oblio Design
Contractor: Terra Nova Building Corp
The project replaces a 2-car garage and indoor pool house with a new lavish spa, multipurpose lounge, guest house as well as a 4-car garage. The initiative is to integrate new indoor living spaces with a new landscaped terrace with pool, hot tub and outdoor dining experience.
An outdoor covered walkway was re-invented as indoor glass link connecting the new addition and main house and also providing a secondary entrance to the home. The glass walls help retain the notion of an outdoor experience while providing a year round connection between the two separate living areas.
In the addition, the ground floor layout offers a Scandinavian like atmosphere, featuring a fitness room, massage room, and steam room in addition to a large versatile gathering room with full amenities for food preparation and indoor lounging. With the patio doors open, the rusticated stone piers transform the west facing rooms into a continuous arcade expanding out onto the pool terrace and providing an uninterrupted connection between indoor and outdoor spaces. As a result spaces within the arcade also benefit from shade and shelter during warm summer months.
The guest house component is concealed from the streetscape within a copper roofscape and accessed via glass link connecting two separate suites on the second floor. The living spaces reveal themselves on the west elevation with sliding glass walls tucked below generous roof awnings for shade and privacy. The guest house is strategically positioned on the 2nd floor to optimize privacy and views out onto the grove of evergreens. 2 Large upper roof terraces offer expanded vistas of the pool and property below.
Pra tornar a faculdade deles (Rochester Institute of Technology, NY) um lugar mais conhecido, os caras resolveram criar um mito. E estão fazendo isso direitinho, com direito a blogs, programas de tv fake e ensaios na wikipedia. Dê uma olhada e tire sas conclusões.
Pra descobrir como foi feito, só doando para incentivar a causa.
O vídeo é incrível. E aí, como você acha que eles fizeram? Deixe sua opinião nos coments.
Aqui está o site complementar onde eles descrevem o trabalho elaborado de criar um mito moderno. Infelizmente, o prazo acabou antes que eles conseguissem o valor a ser arrecadado.
Architects: AZL architects
Location: Nanjing, Jiangsu Province, China
Architect In Charge: Zhang Lei
Design Team: Zhang Lei, Jeffrey Cheng, Wang Wang, Wang Yi
Collaborator: Architectural Design & Planning Institute, NJU
Area: 500 sqm
Year: 2008
Photographs: Yao Li
Situated in Laoshan Forest to the west of central Nanjing city, China International Practical Exhibition of Architecture (CIPEA) began in 2003 to bring twenty-four renowned international & domestic architects together onto one site. CIPEA consist of four public buildings and twenty small houses, in accordance with the brief, the houses should have at least five bedrooms, public spaces, and hospitality accommodations on 500 square meters.
The Number Four “Blockhouse” sits on a particularly valley site, nestling the house into the landscape. In the spirit of a pagoda, four cubic floors are stacked vertically, allowing for minimal site excavation and land use. The ground floor features living and dining spaces quietly enveloped in the surrounding forest and overlooking a stream, and a communal roof terrace rises to just above the trees. The roof merges into the landscape as another living space, complete with pool and wooden deck within the panorama of the forest. The geometric shape is sculpted from concrete and finished in a white protection surface.
The concept of Blockhouse is almost the living attitude of many Chinese: a minimal opening to the surrounding landscape is the only perforation of the richness inside the house. The horizontal break of each floor—in combination with larger unique curved apertures on each floor—frame vistas in the spirit of Chinese landscape scrolls. Prescribed views have a long tradition in Chinese art history and traditional Chinese gardens, designed to make the viewer reconsider and contemplate the landscape.
As strange as it looks, the Canvas furniture, showcased at Milan Design Week 2013, is a real object and not a simple avant-garde painting with baroque details. We’ve spotted this peculiar furniture item on This is Colossal and we found out that Canvas, a canvas shaped chair with a drawing of a chair, is the work of YOY, a Japanese design studio that pays a special interest in creating unusual design, that definitely stands out and makes an impression on whoever ends up seeing it.
Canvas is cool, lightweight and ingenious. “A frame made of wood and aluminum is covered by an elastic fabric printed with texture of a canvas and a drawing of chair.” You can use this “work of art” by leaning it against a wall. The Canvas furniture comes in three different shapes, so basically you can choose from a stool, an armchair or a sofa (a two-person seat). The fun part is that your guests will have no idea that the exquisite work of art you keep in your house is actually real furniture. In case you have an edgy sense of style and you are not “afraid” of avant-garde, you can definitely upgrade your home with intriguing furniture items and completely transform it!
Austin filmmaker Joe Nicolosi: "My mom hadn't seen (or heard of) the Wachowski's classic sci-fi film The Matrix. We watched the entire movie together and right after she told me what it was all about."
Ann Friedman writes, "In my ongoing quest for the perfect framework for understanding haters, I created The Disapproval Matrix." With Ann's helpful diagram, one can more easily "separate haterade from productive feedback." [annfriedman.com]
Quanto mais nos aproximamos da estreia de “O Grande Gatsby” mais novidades temos! A revista VOGUE Austrália divulgou o seu conteúdo de maio, e o artigo de destaque claramente é o esperado longa de Baz Luhrmann (mesmo diretor de “Moulin Rouge – Amor em Vermelho”). A beleza dos anos 20 da atriz Carey Mulligan estampa a capa e muitas páginas – assim como cada integrante do elenco do filme que aparece em outras páginas.
A revista aborda a famosa trilha sonora original, a produção e a direção de arte que tomou atenção dos críticos, internautas e das redes sociais.
O filme, no momento, tem grandes chances de ser indicado na maioria das categorias técnicas do Oscar 2014 – entre elas, figurino. Há especialistas que também apostam numa possível indicação de Mulligan em Melhor Atriz e de Leonardo Di Caprio como Melhor Ator.
Para quem não sabe, essa é a quinta adaptação cinematográfica do livro de F. Scott Fitzgerald. Nesta nova versão:
A história acompanha o escritor aspirante Nick Carraway enquanto ele deixa o meio-oeste em direção a Nova York na primavera de 1922, uma época em que a moralidade tornava-se menos rígida, o jazz explodia e bebidas ilegais criavam impérios.
Em busca de sua própria versão do Sonho Americano, Nick acaba vizinho de um misterioso milionário festeiro, Jay Gatsby, quando vai viver do outro lado da baia com sua prima, Daisy, e o marido dela, o filantropo de sangue-azul, Tom Buchanan.
É nesse ambiente que Nick é atraído ao mundo cativante dos super-ricos, suas ilusões, amores e traições. Nick então usa essa experiência para escrever um conto de amores impossíveis, sonhos incorruptíveis e tragédias que espelha os nossos próprios tempos e conflitos.
Leonardo Di Caprio interpreta Jay Gatsby, Tobey Maguire fica responsável em ser Nick Carraway e a bela Carey Mulligan vive Daisy Buchanan. O elenco também é composto por Joel Edgerton (Tom Buchanan), Jason Clarke (George Wilson), Amitabh Bachchan (Meyer Wolfsheim), Elizabeth Debicki (Jordan Baker) e Isla Fisher (Myrtle Wilson).
“O Grande Gatsby” será lançado nos cinemas brasileiros em 7 de junho.
engraçado eu já fiz um projet quase idêntico a esse
Like an insect with wings poised to lift off. A metal grasshopper coiled for action. Foxground House by Louise Nettleton Architects sits lightly on the site with a roof line that promises flight. Corrugated steel is the material of choice referencing the Australian history of the corrugated iron shed in the bush. Indoor and outdoor meet seamlessly in this stylish contemporary home.
esse é um tipo de projeto de casa que eu gosto muito. As linhas são contemporâneas, mas ao mesmo tempo tempoque tem rigidez formal tem uma integração com a topografia e um combinação de texturas linda e ambientações que tornam tudo aconchegante. é o tipo de projeto em que cabe tudo: móveis de design, com móvis de brechó e herdados. porque o espaço é bom, não precisa de decoração pra torná-lo bom. os objetos podem ter valor sentimental, por que eles não estão ali para ~compor~ o ambiente. eles estão ali porque o dono quis.
It's one that got away. A time capsule of 60s cool. Stepping down a sloping block in Fern Tree, Tasmania is this brick and glass split level designed by David McGlashan. A tweak of the bathrooms and kitchen, move in my West German pottery collection, switch on the Bitossi lamps and rub the danish oil all over the teak table. I'd be in heaven. Alas I missed it but can still dream. Link here while it lasts.
Sara Carpenter
Last night in New York, the Museum of Arts & Design hosted a panel on the Practice of Patronage as part of an ongoing exhibition, After the Museum: The Home Front 2013. Dan Rubenstein, co-curator of After the Museum and Editor of Surface magazine, moderated the presentation and discussion between artist David Wiseman and Zesty Meyers of R 20th Century. The trio discussed Wiseman’s reprisal of the once common practice for artists and its role in his creative process.
For a young artist, commissioned work can nurture and shape their potential career, allowing them the means to explore new methods and materials. While it is common practice for artists and designers to produce works in collaboration with manufacturers, the practice of personal commissions seems to belong to eras past. Unless you’ve commissioned a work of art yourself, today the mysterious process is rarely discussed in detail. Wiseman and Meyer’s insight to the process of patronage helped uncover some of that mystery.
From an early point in his career, Wiseman found inspiration in nature. Moved by fallen trees he found “too precious not to haul back to [his] studio,” he decided to create pieces that brought nature indoors. These manifested in the form of 3-dimensional wall ornaments he dubbed ‘wall forests.’ Rodman Primack, an interior designer and champion of this early work, approached Wiseman with a proposal to extrapolate the small pieces into a larger work to cover a client’s ceiling. And so the first of many commissions was born.
The Platanus bibliotechalis installation at the West Hollywood Library took cues from Sycamore trees in a nearby park. Faced with a short deadline for the commission, Wiseman chose to integrate the challenge into his design rather than let it live as a concession in the process. Photo by: Mark Hanauer.
For artist David Wiseman, commissioned work has proven a rewarding way to create. He isn’t interested in repeating previous works and takes an old world approach to commissions—creating pieces that are not only site specific, but carry significant meaning to the client. He immerses himself with patrons to learn their history and character and is emphatic that while they need not have a specific vision, they must be excited. Through client interaction and visits to the site he finds creative direction. Many of the final pieces are so tied to the clients they could be likened to a modern day version of the family crest. He describes the process as collaborative though he is clear that he has set parameters that prevent him from compromising his artistic integrity.
As patronage has become integral to his career, it’s no wonder he used a fictitious client as inspiration for his first solo show with R 20th Century (curated by Rodman Primack). A dining table tableau created for the imaginary client incorporated features from his past work and commissions. Wiseman enjoys the process of creating “something for somebody,” finding work arbitrary otherwise; a reason patronage may be a natural fit for his career.
Information on future discussions and programs taking part at MAD during the Home Front 2013 can be found here.
Acho que poucas frases me intrigam tanto, hoje, quanto “não existe feminismo mas, sim, feminismoS“. Eu coloco letra maiúscula no S porque quase posso ver. A pessoa dando ênfase. E fazendo cara de tolerante e multi-antenada com a complexidade do mundo contemporâneo. Então eu fico olhando pra cara dessa pessoa*. Essa pessoa líquida. E espero o que ela vai dizer. E geralmente é uma tentativa, né? De conciliar algum hábito constrangedor com esta que um dia foi uma teoria revolucionária. Daí a pessoa diz assim “feminismo é também buscar o chinelo pro maridinho. Por que não???”. Ué. Porque não. Não é isso que é feminismo. Claro que eu dei um péssimo exemplo. Vou melhorar. Eu sou feminista. Eu adoro chocolate. Aí eu posto uma foto minha comendo uma torta de chocolate. Com a legenda. “Feminismo é também torta de chocolate. Hmmm“. E não. Não é. Você ainda pode dizer que eu tô implicando. E que não é o feminismo que é. Mas as feministas. E que tudo isso significa que eu posso, sim, ser feminista e buscar chinelo. Ser feminista e comer torta de chocolate. E, bem. Não. Por motivos diferentes. Buscar chinelo é resquício de machismo**. Comer chocolate diz respeito a outras características que eu tenho. Feminista não é uma condição totalitária. E também não exige coerência. É mais um processo mesmo. De transformação e blábláblá. Mas é um processo de transformação. PESSOAL e social. Mas começa, sim, como auto descoberta e tal. E essa ânsia de querer transformar tudo em feminismo, faz com o foco do que é feminismo se perca. Claro que cada um faz o que quer. É tão óbvio isso que nem sei porque tô dizendo. Você pode colocar foto até do seu duodeno nas redes sociais. Óbvio. A questão é querer instaurar o feminismo do duodeno. Porque aí, eu estrilo. Pra você fundar uma corrente dentro do feminismo, precisa mais do que vontade, amiguinha.
Então Katie Roiphe. Prazer, Mary W. Não conhecia***. Fiquei tão feliz de conhecer. Adorei o texto. E a apresentação que tem dela na revista. Anyway. No artigo, ela diz que as mulheres estão vivendo uma tal de mommy culture. E que, nas redes sociais, as mulheres tem substituído a própria imagem pela imagem das crianças etc. Na foto do perfil, ela diz. Qualquer pessoa que tenha meia dúzia de amigos sabe que isso é verdade. Que o Facebook de grande parte das mulheres é tomado pelos filhos. E as minhas, as suas, as nossas amigas usam mesmo. Foto de criança no perfil. E aí temos feminismo, people. Porque essa é uma luta. A maternidade tem problemas, sim. Um monte de problemas, sim. E parece haver, sim, uma tentativa de resgatar uma suposta realização que só sendo mãe teríamos. E me parece significativo que as pessoas não citem a parte do texto da Roiphe em que ela reitera a importância da maternidade etc. Pode ser que seja outra ~cultura~ essa. De não ler texto inteiro. Que está se tornando uma praga. Pode ser que a mamadeira tenha fervido. Não importa. O caso que ela diz (e nem sei se eu concordo):
Os filhos são uma importante realização na vida de alguém e, indiscutivelmente, a mais importante realização – o que não significa que eles sejam quem você é.
Tem como ser mais didática que isso? Então as críticas que eu vi dizem respeito ao título (?!?) do texto. POIS É. Mulheres inteligentes, independentes e interessantes alienando-se nos filhos é uma derrota do feminismo. Claro que é exagerado. Mas o texto é uma provocação. É encrenqueiro. Porque, né? Imagino que grande parte das pessoas que ela ama esteja nessa situação. Da parte que me toca, digo que uns 80% estão. E são meninas. Não tem homem no meu facebook fazendo nada equivalente. A caixa de comentários do texto é tão recalcada que faria a alegria da Glória Perez. Em determinado momento alguém fala em “feminismo caga-regras“. Aí as outras gritam “êêê! esse não é meu feminismo. meu feminismo é OUTRO“. E então eu volto ao começo. Algumas coisas tem q existir para que seja feminismo. Senão caímos no abismo pós moderno e tudo pode ser qualquer coisa. Emancipação da mulher é uma dessas coisas. Essa emancipação passa necessariamente por problematizar os papéis tradicionais. Filhos demais, maridos demais, cosmético demais. É longa a lista Nero Wolf. Tem que ser problematizado. Não porque o feminismo tá cagando regra. Mas porque são as questões ué. Então você me diz que gasta muito dinheiro em maquiagem e roupa. E que tem obsessão pela aparência. OK. Mas não diga que feminismo também é isso. Porque não é. E você pode viver a vida sem aderir 100% ao feminismo. Porque não se trata de adesão simplesmente. É um oOLHAR. Um movimento e uma TEORIA. Que problematiza um conjunto de coisas etc. Você pode gostar de sexo hardcore. Ninguém te expulsa do feminismo. Mas apanhar na cama NÃO é feminista. Eu não sei se eu estou sendo clara no que eu quero dizer. Porque aí aparece aquele alinhamento também. “Ah, se apanhar na cama não é feminista, então eu não sou feminista“. GENTE. Vamos maneiras na burrice? Não tô aguentando mais o abandono das sutilezas. Apanhar na cama pode não ser feminista. Mas não significa que faça o arco e vá parar no machismo. Apanhar na cama é uma coisa que eu faço e ok. Não entra como algo que coloque em xeque a minha militância. Mas é algo que eu problematizo, né? Tanta gente querendo apanhar na cama, revela, hein? Um monte de coisa sobre sexo na sociedade ocidental etc.
Enfim.
Pra dizer isso. Sim, parece haver uma mommy culture. Sim, isso é uma derrota para o feminismo. Não. Ninguém está cagando regra. Só constatando uma tendência.
*É uma retumbante mentira que eu olho pra cara dessa pessoa porque basicamente eu vejo isso do S pela internet.
**Digo resquício porque pressuponho que a buscadora se declare feminista. Tem buscadoras que não se declaram e vivem o machismo plenamente etc.
***Culpa minha mesmo. Parece que ela é bem conhecida nos EUA.
acho que o pano de chão do banheiro possui maior bem estar psicológico do que eu nesse momento. e olha que o cachorro acabou de dar uma mijada nele, tá.
O filme, no momento, tem grandes chances de ser indicado na maioria das categorias técnicas do Oscar 2014 – entre elas, figurino. Há especialistas que também apostam numa possível indicação de Mulligan em Melhor Atriz e de Leonardo Di Caprio como Melhor Ator.
Sara Carpenter
Last night in New York, the Museum of Arts & Design hosted a panel on the Practice of Patronage as part of an ongoing exhibition, After the Museum: The Home Front 2013. Dan Rubenstein, co-curator of After the Museum and Editor of Surface magazine, moderated the presentation and discussion between artist David Wiseman and Zesty Meyers of R 20th Century. The trio discussed Wiseman’s reprisal of the once common practice for artists and its role in his creative process.
