El ensayo de Annie Sand para la revista Guernica «On metaphors and snow boots» sobre las metáforas que utilizamos para definir el dolor. Aquí.
«In her essay “The Pain Scale,” Eula Biss notes that the diagnostic words we use to describe physical pain are all metaphor: “burning, stabbing, throbbing, prickling, dull, sharp, deep, shallow.” So, too, are the words I use to describe anxiety: stuck, scattered, heavy, leaden. We use these metaphors so freely, we don’t even think of them as such.
Metaphor provides a scaffold to build into the spaces beyond our comprehension. When we struggle to describe a physical sensation, we use a comparison; when some scientists seek to explain the interactions between neurons, they liken the brain to a computer. By doing this, we put the unknown in terms of the known, in an act that both illuminates and obscures: after all, a brain is both like a computer and not. Metaphor rushes in to fill gaps, to make meaning, and to conceal.
Susan Sontag notes a similar process of metaphoric meaning-making in the language surrounding illness, in her seminal book Illness As Metaphor. “Any important disease whose causality is murky, and for which treatment is often ineffectual, tends to be awash with significance,” she writes. “The disease itself becomes a metaphor.” In the nineteenth century, that disease was tuberculosis, equated often with spiritual and artistic transcendence: Keats, frail and ethereal, drowning in his own blood at the age of 25. In the process of assigning metaphor, we use familiar concepts to partially illuminate what we cannot understand, while ushering the rest out of view. This rescues us from uncertainty. It comforts.»
El archivo completo (25 números) de la revista Poor.Old.Tired.Horse, que se editó entre 1962 y 1968, al cuidado de Ian Hamilton. Se puede consultar aquí.
El tema «Alex Turner», de Ginebras.
El artículo «How the «Mother of Yoda» conquered Hollywood – and why she disappeared» sobre la vida de Wendy Froud.
«You might not recognize the name Wendy Froud (née Midener), but in the practical effects world, she’s a legend. Renowned in film and television as a pioneer in puppetry, Froud was sought out by directors like Jim Henson early in her career and created countless iconic TV and movie creatures. Yet she remains an obscure name rarely credited accurately on film sites or IMDb.
Despite what history may tell you, this long-haired, aetherial puppeteer with a Fleetwood Mac aesthetic played a crucial role in the birth of animatronics, providing the puppet design for groundbreaking films The Empire Strikes Back, The Dark Crystal, and Labyrinth. A Froud original can go for $4.500, and her work even earned her one of pop culture’s greatest monikers: the Mother of Yoda.
But in 1988, at the height of Froud’s career, the woman who made some of the world’s most beloved puppets seemingly vanished. Uncovering the truth behind her rise and fall would require tracking down a woman who’s stayed out of the public eye for 30 years, but her story says more about the hidden history of practical effects than it does about one woman’s time in Hollywood.»
La obra de Ofri Cnaani «Blue Print (OC real and fake hands) #1″ (2015).