maya felix

photographed by london photographer ben hopper

(whole series: https://www.facebook.com/media/set/?set=a.10152216631606462.1073741838.67189276461&type=1)


this is the happiest cactus I’ve ever EVER seen

(via @sadiesniece on twitter)


(share this if you’re in the upstate NY area, please)

I’M MAKING A MUSICAL with a bunch of crazy people at Bard College, directed by steven bogart and written by the whole ensemble.

it’s called The Bed Show.

five performances will take place in november (5th-8th). extremely limited seating.

info here: http://amandapalmer.net/blog/20140902/http://amandapalmer.net/blog/20140902/


People always look for excuses. My favorite one is, “Well that’s easy for you because you have a really popular blog.” As if my really popular blog was something I won in the lottery. I had a really unpopular blog for three years in a row where 10 or 20 people were reading it. When I got started in the book business, I received 900 rejection letters. So you don’t look at the end result — at the Richard Bransons and Maria Popovas — and say, “Well they have that thing that I don’t.” They got that thing by showing up. I am really focused on helping people understand that not showing up is a failure of will more than it is a failure of birth.

Reblogged from Explore


Amanda Palmer & Neil Gaiman - Perfect Couple.


Reblogged from We Are The Media

behind the chandelier




I want to spend a day in the mind of Neil Gaiman, honestly. 

You really don’t. It’s weird in here. Also I think that thing over there in the corner of my mind is moving.

Don’t look. Maybe it won’t see us.

Reblogged from Neil Gaiman

From Science Daily

Going Through the Motions Improves Dance Performance

July 23, 2013 — Expert ballet dancers seem to glide effortlessly across the stage, but learning the steps is both physically and mentally demanding. New research suggests that dance marking — loosely practicing a routine by “going through the motions” — may improve the quality of dance performance by reducing the mental strain needed to perfect the movements.

The new findings, published in Psychological Science, a journal of the Association for Psychological Science, suggest that marking may alleviate the conflict between the cognitive and physical aspects of dance practice, allowing dancers to memorize and repeat steps more fluidly.

Researcher Edward Warburton, a former professional ballet dancer, and colleagues were interested in exploring the “thinking behind the doing of dance.”

"It is widely assumed that the purpose of marking is to conserve energy," explains Warburton, professor of dance at the University of California, Santa Cruz. "But elite-level dance is not only physically demanding, it’s cognitively demanding as well:

Learning and rehearsing a dance piece requires concentration on many aspects of the desired performance.”

Marking essentially involves a run-through of the dance routine, but with a focus on the routine itself, rather than making the perfect movements.

"When marking, the dancer often does not leave the floor, and may even substitute hand gestures for movements," Warburton explains. "One common example is using a finger rotation to represent a turn while not actually turning the whole body."

To investigate how marking influences performance, the researchers asked a group of talented dance students to learn two routines: they were asked to practice one routine at performance speed and to practice the other one by marking.

The routines were relatively simple, designed to be learned quickly and to minimize mistakes. Yet differences emerged when the judges looked for quality of performance.

Across many of the different techniques and steps, the dancers were judged more highly on the routine that they had practiced with marking — their movements on the marked routine appeared to be more seamless, their sequences more fluid.

The researchers surmise that practicing at performance speed didn’t allow the dancers to memorize and consolidate the steps as a sequence, thus encumbering their performance.

"By reducing the demands on complex control of the body, marking may reduce the multi-layered cognitive load used when learning choreography," Warburton explains.

While marking is often thought of as a necessary evil — allowing dancers a “break” from dancing full out — the large effect sizes observed in the study suggest that it could make a noticeable difference in a dancer’s performance:

"Marking could be strategically used by teachers and choreographers to enhance memory and integration of multiple aspects of a piece precisely at those times when dancers are working to master the most demanding material," says Warburton.

It’s unclear whether these performance improvements would be seen for other types of dance, Warburton cautions, but it is possible that this area of research could extend to other kinds of activities, perhaps even language acquisition.

"Smaller scale movement systems with low energetic costs such as speech, sign language, and gestures may likewise accrue cognitive benefits, as might be the case in learning new multisyllabic vocabulary or working on one’s accent in a foreign language."


dunawhoo said: A boss once told me, "Find your voice." ... What does that even *mean*?

it means that everybody is truly uniquely different, when it comes down to it, but we spend our lives trying to sound right and look right; mostly by trying to sound and look like other people and getting lost in the echo and the imitation.

if you’re still enough, there’s a sound and expression that comes out of you that isn’t like anything that’s ever happened before or will ever happen again.

that’s your voice.

it’s who you actually *are*, instead of the person you think everyone is supposed to be seeing…the pretty one, the fat one, the perfect one, the one who’s “good at x”, the dutiful daughter, the long-suffering addict, the one in control, etc. none of those things are you, or your voice. your voice is what’s underneath that.

if that makes sense.