Cate Andrews – Google

SPOILERS!!! Ithought it was slow at first. Then I was reminded of the ads I have seen for the English version and the superhuman attack this version revealed: when confined the English ads of their adaptation revealed an ability to fight back or a superhuman approach to the already organised and cold hearted lifestyle getting away with their wrongdoings for possibly their whole lives. The 2022 Danish/Dutch film was disturbing and realistic. What would you do when locked in a car with 3 expert (or seasoned) murderers/kidnappers? The films themes explored decision making and developing an opinion of someone from indirect and direct communication. The stories the evil couple revealed easily manipulated the skeptical Danish couple. They wanted to assert their values and, for the husband, he wanted to release and let go of the confines of performing the smiling husband at work and dinners. His masculinity and expression was vulnerable to the predators. His needs weren't met in his own life and this revealed vulnerability to a psychopath and his studying of couples to take children. The ending was disturbing and my anxiety that this could potentially happen went straight for the web the couple had already socially weaved: they had told friends where they were going. Hope that their bodies and daughter might be found also mixed with anxiety: the countryside conceals silent roads and abandoned properties as well as communities who choose to trun away from outsiders and questions about their way of life and culture. Was this a Danish-Dutch question that separates the two or, as other Scandinavian films that explore "noire" suggest humans explore these dark areas often untouched or out in daylight in full view without shame nor care that we feel something different around them. This question is questioned. Have we lost our intuition to feel in the right way the truth around the darker more evil consciences and acts? Has civilisation erased this necessary human survival technique? To feel something is wrong and flee was brought into conflict with the couple's need to be parents. They attempted to leave and then returned to the perpetrators to fulfill their needs to be loved by their child. What are we to make of their decision? I decided I would have left and would have suffered my child's resentment for a while.(Won't spoil too much). Blamed. The victims were blamed and shamed by the perpetrators. It was their fault they were there and visited and returned.The darkness remained and the evil doing, to silence and abuse a child, quite unashamedly flaunted.

Musicology sets a rhythm that weaves, pulls and spirits us along and between the lines of Woolf. I first came across Woolf and music during my honours year when surprisingly looking at performance art, Carole Schneemann and the Bach Cantatas. Disjunction as well as association that Woolf also makes between sound and being. The rhythm present in the Waves as well as Night and Day indicate perhaps a synethestic connection between rhythm and perception. Like colours and numbers, Woolf's prose is colored with music and connections beyond a simple modernist industrial sound of the new city or work timetable. Proust draws our attention to music which Marie Scheikevitch 1937 essays discusses Proust, Robin, Wilde, Debussey and others. This publication opens our eyes and ears to enjoying a spoken story and listening to music as story and sound as being.

This book, if you're interested in researching how we treat humans and how Michel Foucault might have viewed his time, his world and what he saw in psychological clinics and medicine as well as in history books, and paintings is quite important. Plato's story influence is evident and both important to rethink how we think and feel about people who are different and how we suffer in silence, or as individuals without the knowledge to communicate and commune together as peoples rather than bodies for capital success and social media glory.

Said the Pigeon to the Crow... Don't eat me Mr Crow There's something better over there, on the wet and steamy hot road. I want to keep my stomach I want to save my life. And once you've eaten and filled up on the already dead, I get to keep my wings; my beautiful wife, And my grey old head. I listened to a crow "pop" the stomach from a pigeon. It was quite a stomach turning sound. I then heard another and a wounded pigeon lay on the ground. It couldn't fly, it could barely walk. I didn't know what to say ... I stood and stared I could barely talk. The stomach lay open, the head was nowhere to be found The other pigeon cooed and lay quietly on the ground. It's part of nature and it's the animal way Who am I to judge and who am I to deny the Crow's say.... ©Cate Andrews, 2021.

Lawrence was written in a sensitive and vulnerable way. The writer achieved an approach to masculinity that offers connection and hope beyond the more aggressive, dominant masculinity in the more block buster world. This film explored grief in a language different to my own culture as well as necessary: a sentiment and sensitive grieving process that was realistic. Lawrence, played by Anders Danielson Lie, was a character that appealed to my own needs as a spectator: not an Alpha male and he brought to life the need for men to explore their feelings with close friends and family. Love was delicately and sensitively explored.

The truth will always remain uncertain. The author's peer Lucy Lehmann seemed to borrow (and alter slightly) from a Monroe film titled The Prince and the Showgirl to produce a fiction of her own. Titles, like Walter Benjamin's quote collection, can intrigue, seduce and deny or defy origins. Roland Barthes' The death of author or what I suggest, subjective interpretation of the object (here without jouissance) will always question origins. Open to interpretation we cannot read with eyes wide shut. Critical reflection is an active engagement with questioning and rethinking a story as well as a problem. Including other perspectives creates uncertainty in the genre memoir, because the writing remains subjective and driven by the author. Neuroscience like a judge in the courtroom investigates the physicality and locatedness of the feelings and therefore actions from and of remorse. Remorse in neuro research is located somewhere with guilt in the prefrontal cortex and regret in the medial orbitofrontal cortex. Shame is elsewhere in a tiny area called pregenual anterior cingulate cortex. Lying has been associated with diminished amygdala activity as well as the prefrontal cortex and its association with decision making. The brain like string theory or quantum mechanics is a muscle and a cabinet of curiosity. Like space, one can explore the potential of improving relations with others through physical lived experience and enjoy positive energies through knowledge about the brain and the damage others cause through lying, lack of shame, refusing consent and egocentred narcissism that dominates discussions and the landscape. Why this title and why this memoir? A New York reviewer I agree with argued that the industry that constructs self help and Memoir writing has phantasmagorically destroyed the witness and truth telling from, for example genocide, war crimes and ritual abuse, (or trust in testimonies)to become an ego driven pursuit for fame. Memoir, whose mirror? Levinas suggested the face provides an ethics. A relation with the divine. Transcendence out into the world means to uncomfortably accept criticism as well as responsibility. Neuroscience and Heidegger suggest we try to conceal more than we reveal and this reveals what we think others can't see or feel: the other remains unknown. Authenticity? More, a question and approach that suggests the genuine in uncertainty not an absolute truth.