This Heath Ledger Joker cosplay is one of the best Joker cosplay I’ve seen. The resemblance between this guy and the main villain from “The Dark Knight” is so close, it’s kind of unsettling.=!
The post This Heath Ledger Joker Cosplay Is Absolutely Fantastic! [Pics] appeared first on Geeks are Sexy Technology News.
Todos os dias homens me perguntam qual seu espaço no feminismo, como devem agir para ser mais feministas. A cada 300 tem uns 6 que querem, mesmo, saber. E é com vocês que eu quero falar, hoje, caras.
Vou citar um exemplo ficcional (suavizado) do que eu sou obrigada a ler aproximadamente mil vezes por dia:
Essas feminazi. kkkk. Não pode fazer piada de estupro. kkkk. Não pode cantada. Não pode nada. kkk.
O que esses sujeitos não entendem é que ser mulher parte do pressuposto que todas as coisas que eu faço no meu dia passam por um filtro que eles sequer notam ou desconfiam que exista: o filtro do medo real, iminente e constante.
O medo é o filtro que guia a maior parte dos caminhos que percorremos (figurativa e literalmente) na vida. Porque é pelo medo que escolhemos qual rua pegaremos e qual meio de transporte usaremos. Mas o medo não fica só fora de casa. O medo quer ditar meu comportamento como um todo e quer ditar até meu modo de vestir e falar.
E, não, nada disso é infundado ou exagerado. Esse medo surge da vivência feminina, não de casos isolados. Ou seja, ser ou conhecer vítimas de diversas formas de violência não é privilégio, é universal.
Essa vivência é o que nós chamamos de cultura de estupro. E, talvez, seja difícil para um homem que ri “kkkk” entender, mas nós chamamos ela assim porque não começou com a NET ou o 99 Táxis. Nem vai acabar aí. Essa violência e invasão de privacidade são cotidianas e sistemáticas.
Vocês, homens, muitas vezes foram associados com coragem, mas nunca sentiram esse medo e, menos ainda, sabem o que é conviver com ele costurando todas as opções da vida de vocês.
E, talvez por isso, alguns naturalizem tanto algumas formas dessa violência, porque não entendem que fazer isso é deixar espaço para que ela, como conjunto, se torne mais forte e mais constante. Porque não são só os casos extremos (como estupro) que costuram essa cultura. E, mesmo, para que estupros ocorram é preciso que a sociedade, como um todo, feche os olhos para essas violências pelo que são. E prefira ignorar que são muito mais frequentes e inseridas na roda de amigos que gostaríamos de achar.
Porque, não, estupro não é coisa de doido, sociopata. A grande maioria dos estupros relatados no Brasil foi praticada por alguém que conhecia e convivia com a vítima. E foi praticada porque, assim como os prestadores de serviço da NET e do 99 táxis, eles achavam que a mulher estava a sua disposição, independente da vontade dela, ou seja, era menos que humana. Agravando essa ideia terrível, conforme falamos aqui mais de um zilhão de vezes, a grande maioria da sociedade acha que toda e qualquer violência que uma mulher sofra é culpa dela.
Reconhecer o padrão social que causa isso e confronta-lo, é o que nós esperamos de vocês, caras. Porque vocês pertencem ao grupo que mais mata e pratica violência contra o nosso grupo. Então, o debate é bonito e importante, mas a vivência real de feminismo para os homens se dá nas escolhas cotidianas. E em tentar tornar esse medo, que costura tanto da nossa vida, cada dia mais fraco.
Mas, até lá, respeitar as mulheres como tuas colegas de humanidade e reconhecer o que elas trazem como vivência é essencial.
Só que fazer isso optando por não contar piadinhas sobre estupro ou respeitando as mulheres no metrô não vai te tornar mais popular, diferente do que falar publicamente sobre isso te tornaria. E essa é a real revolução, porque romper com uma cultura cristalizada de opressão e violência não é algo criado para nos deixar mais populares, pelo contrário. Mas é algo que, invariavelmente, nos torna melhores como pessoas, sociedade e cultura.
E se vocês aceitarem o lado menos festivo e glamouroso que é repensar seus privilégios e combater o que eles representam no mundo: é nóis, caras.
Google has published pictures produced by the closest thing to a computer dreaming.
The pictures come from Google’s attempts to refine image recognition. That remains a subject where computers lag far behind human beings, despite having the advantages of speed, accuracy and endurance.
The problem for computers is that their traditional approach of breaking a task down into the smallest possible components and crunching the numbers sequentially can’t compete with the human ability to intuitively and almost instantly recognize patterns and compare multiple possibilities: hence the way we can spot a friend in the street even if they have a new hairstyle or clothes we’ve never seen before.
Google, like several other organizations, has been experimenting with artificial neural networks. These try to simulate the way the brain uses a grid of neurons to create huge numbers of potential pathways and thus be able to run through multiple possibilities at once.
With images, it appears the brain solves the mystery by running through a series of steps. Google says one possibility is that the brain starts out with edges and corners to get an overall shape (which could perhaps be called jigsaw logic) , then looks for familiar shapes and patterns within the picture to get more context, then finally drills down to the fine detail.
Google has now experimented with reversing the process to look for flaws in the way its artificial neuron network detects image components. It did so by feeding in images and asking it to highlight possible examples of a particular component, then feeding that image back in to get even more exaggerated highlighting, and so on in a loop.
It turned out that with the right programming, the network could “spot” almost any pattern in an unconnected image, similar to the way people look for patterns in clouds:
In some cases the process highlighted problems with the set-up. For example, asked to spot patterns of dumbbells, the network did so, but every resulting “dumbbell” shape also included a hand and bicep holding it. That turned out to be because Google’s network of images matching the description “dumbbell” was dominated by pictures of people using them in workouts.
The team also tried out having the network create images starting with a picture made up of entirely random noise, similar to an analog TV picture with no station tuned in. The resulting images [pictured top] were effectively created solely by the network interpreting randomness by shaping it to match the subjects that were “on its mind”, similar to one theory about how dreaming works.
Kjetil N., A programmer from Norway, spent around 800 hours over the past 6 years to crochet this amazing Super Mario Bros. 3 World 1 rug. Beautiful, isn’t it? Apparently, even the colors of the yarn is game accurate!
[Source: AlexKingshill – Reddit]
The post Geeks Spends 6 Years Crocheting This Epic Super Mario Bros. 3 Map Rug [Pics] appeared first on Geeks are Sexy Technology News.
And you thought you were cool because you lined up at midnight and bought a PS4 with your own money.
Iceland is really windy, so drinking from a water bottle can often become quite problematic .
The post Drinking Water in Iceland Can Be an Incredibly Difficult Task! [Video] appeared first on Geeks are Sexy Technology News.
Para um apaixonado por café, não existe companhia melhor do que uma xícara querida e cheia de história para contar. Essa ligação entre os fãs do grão e as porcelanas é tão grande que já rendeu inúmeras entrevistas aqui no Mexido de Ideias. Mas que tal tomar sua bebida predileta em um utensílio feito com… café?
Essa é a proposta da Kaffeeform, linha de xícaras do alemão Julian Lechner. Depois de cinco anos de pesquisa, ele conseguiu criar uma fórmula que tem como matéria-prima os grãos já móidos – que ele mesmo recolheu nas cafeterias de Berlim.
A aparência é única para cada uma das peças, que lembram uma madeira escura. E a boa notícia é que o aroma do café é mantido nas xícaras! Assim, elas se transformam em itens perfeitos para receber nosso líquido predileto. Segundo o fabricante, o material é lavável e durável. O produto foi lançado no Amsterdam Coffee Festival, mas também é vendido aqui. O preço varia de €25 a €70, e no momento o envio é apenas para residentes na Europa.
Agora é só esperar para que a novidade se espalhe pelo mundo! Quem sabe logo mais será possível degustar um café delicioso em uma xícara mais do que especial?
Por: Marina Oliveira
by Done Done Software - @donedonesoft
This content is brought to you with funding support from New Zealand On Air.
Because I’m a glutton for punishment, I thought I’d post a followup essay to my post yesterday. Whereas yesterday I wrote about questions writers should ask themselves when considering writing a rape scene, today I’m going to talk about three things that have shaped how I think about writing scenes like that.
Trigger warning for rape and hate crimes.
1. Nah, actually, you don’t know
When I was first dating the woman who would eventually be my wife, she once asked me to do something I found very strange: ”My sister needs to get gas,” she said. “Can you go with her to the gas station?”
This puzzled me. I was hanging out at her family’s place, and the idea that someone would need to assist her sister with going to get gas – the station was literally less than a quarter mile down the road – was strange to me.
“You mean, like, pay for it?” I asked.
“No,” she said. “I mean go with her. So she’s not alone.”
“Why wouldn’t she want to go pump gas by herself?”
“She didn’t ask for you to go,” she said, irritated. “I want you to go with her. And I want you to because she’s nineteen, it’s ten o’clock, and it’s a gas station.”
“What,” I said, laughing, “you think something’s going to happen? We’re out in the suburbs!”
She shook her head. “You’re such a boy. You don’t know anything about this. Just go.”
So I did. I sat in the car with her and stood with her while she pumped gas. It seemed an odd thing to do. But I started to wonder what it must be like: to be a small, young woman, alone, in the dark, with total strangers coming and going. I had never even considered such a place could be a threat to me. And, after all, it wasn’t quite the suburbs: her parents’ car had been broken into more than a few times.
Then, about three weeks later, there was a notice in the news: a young woman in Austin had been out jogging in an upscale, urban area, and someone had just snatched her off the street. They’d pulled up in a car, grabbed her, and drove off.
“See?” my wife said. “Do you still think I’m crazy to worry?”
I can’t remember if they ever found the woman.
It took me awhile to realize that not everyone lives the same way as me.
This seems like a vapid thing to say – we’re taught from day one that there are people different from you. But it’s another thing to realize that, for me, as a tall white dude, there are places I can go where other people can’t. There are situations I don’t worry about that other people absolutely have to. I can pump gas at 11:00 PM at night at nearly any gas station in the country and not feel anxious. I can walk down the street at night and feel just perfectly fine. I can go to a bar and drink away and feel quite certain I’ll wind up all right.
I’m not wanted. I’m not watched. I’m not sought after. I’m just some guy.
So yeah, I don’t actually know what it’s like to live under threat of sexual abuse or assault. To me it’s just some thing that happens in the papers or in the history books. It’s certainly not something that could ever happen to me.
I’ve never had to think about it. So I don’t really know.
So why is it showing up in books more and more these days?
2. Sexual abuse has been codified
When George RR Martin came out with Game of Thrones, his books were remarkable for three things, which every sucker on the planet stampeded to try and copy:
1. Lots and lots of characters, each with a chapter from their own POV, each tense and often ending on a cliffhanger. This is arguably the most-copied thing GRRM did: there are now plenty of books with 5, 6, or 7+ POVs where every other chapter moves to a different part of the action, always ending on a tense note. It creates a difficult-to-resist sense of tension and momentum where you just fall down through the pages and can’t stop.
2. The awareness that any character could die. No one was invincible because they were in the first opening pages. And there was a good chance they wouldn’t even die a meaningful death. Lots of main characters died miserably and pointlessly.
3. And the cherry on top of that last one – that anything could happen – would also mean that the plot would go places other books were too timid to attempt. Like, having a main character get castrated, or mutilated – or brutally sexually assaulted. Or having the main characters themselves commit sexual assault. There was a nihilistic grimness to his works that was sensational and lurid and shocking at the time – and still is.
But here’s the thing: now that GRRM’s stuff has become copied, codified, and has essentially become its own genre – the nebulous term known as “grimdark” – now, to a somewhat limited extent, sexual abuse is a standard of the genre. It’s expected. It’s almost like having a chase scene in a car movie, or sending a noir private eye to a bar. It’s a signal the writer sends to the reader telling them exactly what kind of literature this is that they’re reading.
And many writers and readers have become accustomed to it. “Rape exists in real life,” they say, “and it’s happened during times of war throughout history. Why shouldn’t we be allowed to write what we want to write, the way we want to write it?”
And yeah, absolutely, you’re allowed to write and read whatever you please. But I can’t bring myself to think of rape and sexual abuse as a genre standard.
3. I think about writing about rape the same way I would think about writing about a hate crime – like a lynching.
That is to say, very carefully.
Now, I’m not saying that rape is as horrific and damaging as slavery and the institutional racism and suffering America brought upon itself. I’m saying that there are some correlations between the two.
Both of these demographics – African Americans and women – have been the targets of incredible abuse. We know about the abysmal savagery of slavery and the Deep South (or maybe we just know the tip of the iceberg there, so we can sleep better at night), but it’s worth remembering that domestic violence and marital rape were just culturally accepted for decades, even centuries, throughout many levels of society. Remember how reluctant Elizabeth Bennet was to marry Mr. Collins in Pride and Prejudice? One reason for that might have been that marital rape was legal back then. Marrying someone you didn’t like, as a woman, came with a whole host of awful possibilities, all of them legal in the eyes of the law. And this went on for a long, long while.
Both of these demographics also lacked many basic human rights until just recently. Freed slaves got the right to vote in America before women did, though that’s not to say that those in power let them use it – if I recall my history classes correctly, the first black man who tried to vote in Texas got shot in the head before he could do so, in the town square, and his killer got off scot-free. But it makes you wonder about other parts of the country where racism wasn’t so virulent – did they just forget about women? And women today still aren’t guaranteed to make as much as their male counterparts, let alone the numerous reproductive issues still in debate, even mundane ones like maternity leave or pumping at work.
And today, members of both of these demographics are aware of everyday situations that make them fear for their safety – situations that I, personally, will never worry about. For women, it might be going on a blind date, going to a bar or a club, pumping gas at night, talking to a coworker alone in a room, or talking to a man on the internet. For African Americans, it could be a routine traffic stop, knocking on someone’s front door when they don’t expect it, or simply standing in a Walmart holding something that could be considered threatening.
For both of these demographics, our society isn’t completely safe – or, at least, not as safe as it is to a guy like me.
All of these histories, all of these anxieties, are all brought to a head when one brings up one of two acts that, historically, are entwined with oppression and systemic abuse – hate crimes or sex crimes. Both are expressions of superiority, those in power putting those that are powerless in their place.
So imagine writing a scene with a hate crime in it, like a lynching, and trying to explain to an African American colleague that, hey, this is in line with this character, with this world. “This is a really bad guy,” I’d say. “He’s a psychopath. So, you know. That’s why.”
I imagine that this colleague would say that to use an act so linked with a dreadful history, so entwined with a system of oppression that is still going on today, as just character-building or world-building is tone deaf at best, and morally irresponsible at worst. Actual human beings have and are suffering such fates right now, and to use this experience as a literary trope trivializes their suffering.
And then I’d feel like shit. Because I’d know that to be true.
I’d feel the same way about a rape scene.
If I were to write about such things, I would have to earn it. I’d have to think long and carefully about it. I’d have to be aware that I’m venturing into lives that I haven’t lived and probably have never even considered living.
Perhaps such subjects in fiction are a little like pumping gas at night. To some readers, it’s something expected, abstract, mundane. They read these things and they yawn. They’ve never really had to think about it. But to others, it’s fraught with horrendous and well-founded anxieties.
NOTE: Since yesterday my post on things you might want to consider before writing your rape scene got a lot of attention from A. Game of Thrones fans who thought I was disparaging the events of an episode I’d never even seen before, B. Internet people who had a lot of Todd-Akin-style questions about what does and does not count as legal rape, and C. some charming people who thought I should never write ever at all because I suggested people tread lightly when writing about raping a woman, I’m gonna go ahead and close the comments on this one. I take myself VERY seriously as an author THANK YOU VERY MUCH
UPDATE: I don’t give a shit about the episode of Game of Thrones in question. Not even a quarter shit. This isn’t about that rape scene, but all rape scenes. I don’t want to hear about Theon or whoever the hell.
UPDATE 2: You know what, forget it. Comments closed. There are other, better places to be stupid online.
Though if you want to read how I, personally, think about sexual abuse scenes, you can read it here.
The title of this post isn’t an accusation. It’s a genuine question. And it’s also a subject that’s been on my mind just about since I got started writing.
Trigger warning for all kinds of bad shit.
Rape is a thing in books. It’s been a thing in books for awhile now, but in the past 10-20 years, this horrific taboo has become more explored and prominently used in literature and art. It feels like it’s come to a head recently, what with yet another brutal, degrading rape in last night’s Game of Thrones, a show I’ve only ever watched occasionally but increasingly feels like a conga line of sexual violence.
A lot of people are mad about it. Other people say, “Well, it’s that world. It’s also in history, and in war. It’s perfectly justified to feature rape in a story. And that character is a monster.”
So here’s a thought exercise I’d like you to try.
You’re writing a rape scene. A woman gets brutally raped by a monstrous male character in one scene in your book. It’s scandalizing. It’s disturbing. It’s graphic. People are going to talk about this.
Okay. Now substitute another sex crime in its place – say, homosexual pedophilia.
Now instead of raping a buxom, weeping young woman, your Extremely Bad Dude is now raping a terrified six year old boy.
Does it still feel like it deserves to be there?
To use the usual fictional rape apologist arguments, there’s no reason this scene shouldn’t exist. Child rape exists, and no doubt happens in times of war. It probably happens even more in third world countries that are at war. Historically speaking, I’m sure there have been thousands of child rapes since the dawn of humanity. Maybe millions.
Practically speaking, it would be remiss not to include a child rape scene or two, right? It happens. We must be truthful to reality. It’s our duty.
Or, wait – is it possible you’re using this horrific, degrading, monstrous act as window dressing?
That’s why a lot of people feature rape scenes, it seems. “This is a very bad dude,” a writer might say, “and I need to prove it to the audience.” And the audience might say, “Yes, that character WOULD do that. That’s absolutely in line with their nature.” And so they’re fine with it.
Or maybe the writer just wants to signal to the reader that this world is extra, super-duper grim and gritty. The audience would then say, “Well, that’s the world this story’s set in. It’s monstrous and brutal. But them’s the shakes.” And so they’re fine with it. (This is basically adding ambiance to the story. “Let’s throw a little rape in the background,” the writer thinks, “so folks get the picture.”)
But while audiences seem willing to sit and watch a young woman get raped to make these points, raping a six year old boy suddenly seems… excessive, right? It’s way over the line. No one wants to watch a sobbing child get sexually violated. So why are we willing to sit and watch one awful sex crime but not the other?
And if you go through rape-heavy books, and swap out all the rape victims with young boys, then, shit howdy, you’d probably start thinking, “Whoa, what’s the fucking deal here? Why does this writer keep featuring scenes with this awful shit? Are they getting off on it? Do they think that I’m getting off on it?”
And that’s a tough question. Are you getting off on it? Are you including this rape scene for titillation, to be sensational, to set tongues a wagging? Are you using rape as a tool, a signal, a way to tell the reader that you mean business?
And is there no other way for you to do that? Do you have to make someone get raped for your story to work? Or do you just want to see it happen?
So here’s the things you need to ask yourself if you’re writing a rape scene:
Rape gets trivialized in the real world. It’s frequently hushed up or waved off. The victims are forgotten. So think long and hard about why you’re including it in your book. To use such a monstrous act as window dressing is to trivialize it further.
Taí um anime pra ver :)
Somewhere there exists a mysterious bar. When you arrive at it, you are forced to play a game—cards, bowling, darts, etc.—against another person. If you win, you get to leave. If you lose, however, you die.