Yes, I’m very studied on eastern faiths. I spent a good deal of time learning philosophy, reading about religions and so forth. I’ve spent a good deal of time reading. I see Shiva as being very calm and someone sedate. Though capable of much destructive power, Shiva would not see it as such, because for Shiva, that is not what it is. It only destroys that which can be undone. For Shiva, seeing the long vantagesould mean such power would never seem dark or evil.

Comfortable? Possibly. Allowed it? Perhaps never.

roadthrills:

Me: I want this skull because it’s interesting and I’d like to be able to study the animal’s anatomy

Also me: I want all the skulls. A hoard of skulls. Skulls and bones on every surface to roll around in like a goddamn dog in manure

Me: I want to be decked out like Shiva the Destroyer while eating cake and petting my dog. It’s an aesthetic.

sheerdisneymagic:

knowyournewmeme:

Pulsing unidentified flesh

Those are called customers, be nice

No, those are called free samples and they are eicious.

simonalkenmayer:

The trouble with translating a life like mine to film, is firstly that it would be made far too episodic—I’ll reference the old television version of Highlander as an example. In every episode this person faces a challenge somehow informed upon by a specific memory. Trouble is that his timeline is random and well that isn’t how experience works. I lost interest in the representation of immortality within half a season. Another examination is the vampire show Forever Knight which was always a source of comedy to me for all the fries and nonsense in it.

Humans want to think long life means that there’s a memory for everything. And while it’s true that I can usually name ten times something has happened…there are ten times. Not one. There’s no plot arc. It’s pattern recognition. Ten times. Not once. By this pattern, I can easily avoid most of the problems humans labor beneath. I spend about five seconds on any memory pertaining to said pattern. I don’t fixate on long dead humans, because I’m not one of you. This is why writing the shorts takes me so long. I feel absolutely drained of energy, because to me, looking backward and dredging up how I felt, what all was going on at the time both in the world and in my mind, the names and the people around me, the details of the places so that you can also see them…that is very difficult for me. I remember it, true, but to make it real for you, I have to relive it, and I’m not sure my species is built for such things. We simply have trouble with retaining the past in any way meaningful to humans.

The continuity of the mind and its experience is very different to the continuity people seek in plots.

Secondly, much of my experiences alas do not do well when confined by the visual medium. Half my perceptions are smell, sensory inputs you don’t seem to be aware of. I think that could make a movie or show entertaining, if done up in some visual way, but only if done properly.

The next pitfall is that they’d essentially put a human in a monster suit. They’d depict me as having the same emotional sphere, thought process, considerations as humans, in order to appeal to humans. The age old “monsters are merely a vehicle for humans to work through their anxieties” trope, and that bothers me to no end. We are real people with real feelings and you don’t have the right to commandeer us for your purposes.

Then there’s the fact that I haven’t any gender or sex, dress however I like, sleep beside a man who is in love with me, entertain thousands on the internet, and all that nonsense. How on earth would they represent that?

When the book first debuted, we were contacted by the same production company that made the original ghost busters franchise. They wanted to read the book to see about a television show. I gave consent because I knew it would never come to anything, and I was right. They wrote back to compliment my writing style and express interest in the “plot”, but said it was something they’d pass on. However it became quite clear they read only the first few chapters into the first book. They made the assumption, as people often do, that because Rebecca appears there, she must be a love interest, and expressed boredom with that idea. I sympathize. That would have been terribly boring.

It also amused me that the requested the right to reject me: “Here, May we review your work, so that we can tell you we aren’t interested?” What a bizarre way of doing things.

So let me say this: there is only one set of circumstances that would ever see my work on a screen— I would want the director to read the canon in its entirety, have a conversation with me in person about the experiment and what it is (you can imagine precisely how that will go and why I’m afraid it must be a part of the contract) and thirdly that I will be able to have a measure of creative input.

I don’t care what they do with “plot” as my life hasn’t got one. I don’t care how they cast it or any of that. My only worry would be that my species is properly depicted and that my name and person are properly represented. I would not be alright with my on-screen persona being at all rude, nihilist, condescending, abrasive, flashy, or undignified.

Unfortunately that means I’d be unfit as a candidate for the silver screen or anything else. They want over the top, charismatic and ridiculous people as their stars. Not people like me who’ve seen too much to ever be fiendish or flamboyant.

I’ve thought about this a great deal since that initial brush with Hollywood. I doubt it will ever happen, but if it did, you can expect me to be rather blunt and specific about how it would happen. I think the only way it might ever occur is if the experiment expands at such a rate as to capture the eye of someone in the field. I don’t anticipate that being possible. I spend far too little time on my “art”.

So, it is a moot point to me, only brought out because of an occasional ask.

I’m also wary of this because I do believe that television has a great impact on the human brain. I think that it would skew the data in perhaps an interesting way, but in a wholly unquantifiable one. Books, stories, online presence, and the television or film? Humans would in droves all answer “Yes I think you’re real” rather than talk about their skepticisms and what constitutes reality.

Everyone would be waiting for my species to step out of shadow, or…they’d be vehemently trying to tear me down.

People would argue that I’d borrowed from their cultures, that I was a fraud. It would involve all my closest friends, people on other social media looking for clues. Eventually, I think it would cause me more problems than it would provide me with benefits.

I rather think film is a bad idea.

No one can perfectly pretend anything, especially if hat something is dreadful.

If you are trapped in a. Situation, it’s best not to know. If you can remove yourself and merely have to show your face occasionally, then by all means, absorb the truth and all its consequences.

Never learn the truth if you’re trapped. Humans don’t do well with that kind of anxiety.

The trouble with translating a life like mine to film, is firstly that it would be made far too episodic—I’ll reference the old television version of Highlander as an example. In every episode this person faces a challenge somehow informed upon by a specific memory. Trouble is that his timeline is random and well that isn’t how experience works. I lost interest in the representation of immortality within half a season. Another examination is the vampire show Forever Knight which was always a source of comedy to me for all the fries and nonsense in it.

Humans want to think long life means that there’s a memory for everything. And while it’s true that I can usually name ten times something has happened…there are ten times. Not one. There’s no plot arc. It’s pattern recognition. Ten times. Not once. By this pattern, I can easily avoid most of the problems humans labor beneath. I spend about five seconds on any memory pertaining to said pattern. I don’t fixate on long dead humans, because I’m not one of you. This is why writing the shorts takes me so long. I feel absolutely drained of energy, because to me, looking backward and dredging up how I felt, what all was going on at the time both in the world and in my mind, the names and the people around me, the details of the places so that you can also see them…that is very difficult for me. I remember it, true, but to make it real for you, I have to relive it, and I’m not sure my species is built for such things. We simply have trouble with retaining the past in any way meaningful to humans.

The continuity of the mind and its experience is very different to the continuity people seek in plots.

Secondly, much of my experiences alas do not do well when confined by the visual medium. Half my perceptions are smell, sensory inputs you don’t seem to be aware of. I think that could make a movie or show entertaining, if done up in some visual way, but only if done properly.

The next pitfall is that they’d essentially put a human in a monster suit. They’d depict me as having the same emotional sphere, thought process, considerations as humans, in order to appeal to humans. The age old “monsters are merely a vehicle for humans to work through their anxieties” trope, and that bothers me to no end. We are real people with real feelings and you don’t have the right to commandeer us for your purposes.

Then there’s the fact that I haven’t any gender or sex, dress however I like, sleep beside a man who is in love with me, entertain thousands on the internet, and all that nonsense. How on earth would they represent that?

When the book first debuted, we were contacted by the same production company that made the original ghost busters franchise. They wanted to read the book to see about a television show. I gave consent because I knew it would never come to anything, and I was right. They wrote back to compliment my writing style and express interest in the “plot”, but said it was something they’d pass on. However it became quite clear they read only the first few chapters into the first book. They made the assumption, as people often do, that because Rebecca appears there, she must be a love interest, and expressed boredom with that idea. I sympathize. That would have been terribly boring.

It also amused me that the requested the right to reject me: “Here, May we review your work, so that we can tell you we aren’t interested?” What a bizarre way of doing things.

So let me say this: there is only one set of circumstances that would ever see my work on a screen— I would want the director to read the canon in its entirety, have a conversation with me in person about the experiment and what it is (you can imagine precisely how that will go and why I’m afraid it must be a part of the contract) and thirdly that I will be able to have a measure of creative input.

I don’t care what they do with “plot” as my life hasn’t got one. I don’t care how they cast it or any of that. My only worry would be that my species is properly depicted and that my name and person are properly represented. I would not be alright with my on-screen persona being at all rude, nihilist, condescending, abrasive, flashy, or undignified.

Unfortunately that means I’d be unfit as a candidate for the silver screen or anything else. They want over the top, charismatic and ridiculous people as their stars. Not people like me who’ve seen too much to ever be fiendish or flamboyant.

I’ve thought about this a great deal since that initial brush with Hollywood. I doubt it will ever happen, but if it did, you can expect me to be rather blunt and specific about how it would happen. I think the only way it might ever occur is if the experiment expands at such a rate as to capture the eye of someone in the field. I don’t anticipate that being possible. I spend far too little time on my “art”.

So, it is a moot point to me, only brought out because of an occasional ask.

thehappyrealityproject:

Be so rooted in your being that nobody’s absence or presence can disturb your inner peace.

I approve. The me of your dreams demonstrated whimsical and over the top focus in a “zero fucks given” sort of way, making excellent use of the tools he controlled.

I also approve of you all getting a day at the park.