By David Bowie
Pushing thru the market square, so many mothers sighing
News had just come over, we had five years left to cry in
News guy wept and told us, earth was really dying
Cried so much his face was wet, then I knew he was not lying
I heard telephones, opera house, favourite melodies
I saw boys, toys electric irons and t.v.s
My brain hurt like a warehouse, it had no room to spare
I had to cram so many things to store everything in there
And all the fat-skinny people, and all the tall-short people
And all the nobody people, and all the somebody people
I never thought Id need so many people
A girl my age went off her head, hit some tiny children
If the black hadnt a-pulled her off, I think she would have killed them
A soldier with a broken arm, fixed his stare to the wheels of a cadillac
A cop knelt and kissed the feet of a priest, and a queer threw up at the sight of that
I think I saw you in an ice-cream parlour, drinking milk shakes cold and long
Smiling and waving and looking so fine, dont think
You knew you were in this song
And it was cold and it rained so I felt like an actor
And I thought of ma and I wanted to get back there
Your face, your race, the way that you talk
I kiss you, youre beautiful, I want you to walk
Weve got five years, stuck on my eyes
Five years, what a surprise
Weve got five years, my brain hurts a lot
Five years, thats all weve got
Weve got five years, what a surprise
Five years, stuck on my eyes
Weve got five years, my brain hurts a lot
Five years, thats all weve got
Weve got five years, stuck on my eyes
Five years, what a surprise
Weve got five years, my brain hurts a lot
Five years, thats all weve got
Weve got five years, what a surprise
Weve got five years, stuck on my eyes
Weve got five years, my brain hurts a lot
Five years, thats all weve got
Five years
Five years
Five years
Five years
Wednesday, January 30, 2008
Sunday, January 27, 2008
The Portait of the Architect (INTP)
Según un exámen de personalidad, de la página humanmetrics.com, soy un "arquitecto": distinctively introverted, moderately intuitive, moderately thinking, slightly perceiving.
Esta es la descripción:
Of the four aspects of strategic analysis and definition, it is the structural engineering role -- architechtonics -- that reaches the highest development in these Rationals, and it is for this reason they are aptly called the "Architects." Their major interest is in figuring out structure, build, configuration -- the spatiality of things.
As the engineering capabilities the Architects increase so does their desire to let others know about whatever has come of their engineering efforts. So they tend to take up an accomodating role in their social exchanges. On the other hand they have less and less desire, if they ever had any, to direct the activities of others. Only when forced to by circumstance do they allow themselves to take charge of activities, and they exit the role as soon as they can without injuring the enterprise.
The Architects' distant goal is always to rearrange the environment somehow, to shape, to construct, to devise, whether it be buildings, institutions, enterprises, or theories. They look upon the world -- natural and civil -- as little more than raw material to be reshaped according to their design, as a formless stone for their hammer and chisel. Ayn Rand, master of the Rational character, describes this characteristic in the architect Howard Roark, her protagonist in The Fountainhead:
He was looking at the granite. He did not laugh as his eyes stopped in awareness of the earth around him. His face was like a law of nature-a thing one could not question, alter or implore. It had high cheekbones over gaunt, hollow cheeks; gray eyes, cold and steady; a contemptuous mouth, shut tight, the mouth of an executioner or a saint. He looked at the granite. To be cut, he thought, and made into walls. He looked at a tree. To be split and made into rafters. He looked at a streak of rust on the stone and thought of iron ore under the ground. To be melted and to emerge as girders against the sky. These rocks, he thought, are here for me; waiting for the drill, the dynamite and my voice; waiting to be split, ripped, pounded, reborn, waiting for the shape my hands will give to them. [The Fountainhead, pp 15-16]
Many regard this attitude as arrogant, and Architects are likely, especially in their later years, after finding out that most others are faking an understanding of the laws of nature, to think of themselves as the prime movers who must pit themselves against nature and society in an endless struggle to define ends clearly and adopt whatever means that promise success. If this is arrogance, then at least it is not vanity, and without question it has driven the design engineers to take the lead in molding the structure of civilization.
Esta es la descripción:
Of the four aspects of strategic analysis and definition, it is the structural engineering role -- architechtonics -- that reaches the highest development in these Rationals, and it is for this reason they are aptly called the "Architects." Their major interest is in figuring out structure, build, configuration -- the spatiality of things.
As the engineering capabilities the Architects increase so does their desire to let others know about whatever has come of their engineering efforts. So they tend to take up an accomodating role in their social exchanges. On the other hand they have less and less desire, if they ever had any, to direct the activities of others. Only when forced to by circumstance do they allow themselves to take charge of activities, and they exit the role as soon as they can without injuring the enterprise.
The Architects' distant goal is always to rearrange the environment somehow, to shape, to construct, to devise, whether it be buildings, institutions, enterprises, or theories. They look upon the world -- natural and civil -- as little more than raw material to be reshaped according to their design, as a formless stone for their hammer and chisel. Ayn Rand, master of the Rational character, describes this characteristic in the architect Howard Roark, her protagonist in The Fountainhead:
He was looking at the granite. He did not laugh as his eyes stopped in awareness of the earth around him. His face was like a law of nature-a thing one could not question, alter or implore. It had high cheekbones over gaunt, hollow cheeks; gray eyes, cold and steady; a contemptuous mouth, shut tight, the mouth of an executioner or a saint. He looked at the granite. To be cut, he thought, and made into walls. He looked at a tree. To be split and made into rafters. He looked at a streak of rust on the stone and thought of iron ore under the ground. To be melted and to emerge as girders against the sky. These rocks, he thought, are here for me; waiting for the drill, the dynamite and my voice; waiting to be split, ripped, pounded, reborn, waiting for the shape my hands will give to them. [The Fountainhead, pp 15-16]
Many regard this attitude as arrogant, and Architects are likely, especially in their later years, after finding out that most others are faking an understanding of the laws of nature, to think of themselves as the prime movers who must pit themselves against nature and society in an endless struggle to define ends clearly and adopt whatever means that promise success. If this is arrogance, then at least it is not vanity, and without question it has driven the design engineers to take the lead in molding the structure of civilization.
Saturday, January 12, 2008
Juno
Juno es una adorable película siguiendo la tradición empezada por la serie Daria de usar como personaje principal a la trágica figura de la chica adolecente con avanzado desarrollo intelectual que al enfrentarse a las banalidades de la vida adolecente se estanca en una actitud apática.
Como en el caso de Beavis and Butt Head, es interesante ver cómo los medios influeyen en la vida real y viceversa. Porsupuesto que antes de Daria existían personajes similares en la vida real. Sin embargo, antes de que Daria (y personajes similares como los de Ghostworld, etc) se estableciera como una figura reconocible por el main stream americano, este tipo de actitudes eran pobremente entendidas mientras que hoy quizas se pueda decir que este estilo de vida se ha vuelto una subcultura.
En fin... la película me gustó porque los personajes me parecen extraordinariamente realistas y los retos a los que se enfrentan tienen gran relevancia para mucha gente moderna. Esta Juno que, cuya personalidad ya mencioné; esta el hombre en sus 30 enfrentandose a la decisión de comprometerse a una relación o vivir ciertos sueños de su juventud; esta la mujer en sus 30 que sueña con ser madre pero no puede; etc.
Me gusta este nuevo genero que llamaría "inteligent teen movies". Creo que la adolecencia es un periodo en el que se desarrollan muchos character traits (pardon my pocho) y las teen movies tradicionales se enfocan sólo en el mito de la adolecencia "perfecta" (fiestas! libertad! cero responsabilidades!) es refrescante ver películas que tratan esta importante etapa de la vida con personajes más complicados y temas más relevantes.
Como en el caso de Beavis and Butt Head, es interesante ver cómo los medios influeyen en la vida real y viceversa. Porsupuesto que antes de Daria existían personajes similares en la vida real. Sin embargo, antes de que Daria (y personajes similares como los de Ghostworld, etc) se estableciera como una figura reconocible por el main stream americano, este tipo de actitudes eran pobremente entendidas mientras que hoy quizas se pueda decir que este estilo de vida se ha vuelto una subcultura.
En fin... la película me gustó porque los personajes me parecen extraordinariamente realistas y los retos a los que se enfrentan tienen gran relevancia para mucha gente moderna. Esta Juno que, cuya personalidad ya mencioné; esta el hombre en sus 30 enfrentandose a la decisión de comprometerse a una relación o vivir ciertos sueños de su juventud; esta la mujer en sus 30 que sueña con ser madre pero no puede; etc.
Me gusta este nuevo genero que llamaría "inteligent teen movies". Creo que la adolecencia es un periodo en el que se desarrollan muchos character traits (pardon my pocho) y las teen movies tradicionales se enfocan sólo en el mito de la adolecencia "perfecta" (fiestas! libertad! cero responsabilidades!) es refrescante ver películas que tratan esta importante etapa de la vida con personajes más complicados y temas más relevantes.
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