The ″ howling ″ of an alligator that inhaled helium and the knife made of feces. Here are the Ig Nobel 2020

The satirical Ig Nobel Prizes 2020 were presented Thursday. There is a new disease diagnosed (no, it is not covid-19), unusual experiences with an alligator female and a “compliment” to Bolsonaro and Trump in the “Medical Education” category.

These experiences are as unusual as they are real. Have you ever imagined a Chinese alligator in an airtight chamber making sounds after inhaling helium? A group of researchers from Austria, Sweden, Japan, USA and Switzerland decided to analyze how these animals communicate with each other and did this experiment. The result? An award in the category “Acoustics“at the 30th edition of the Ig Nobel prizes, presented this Thursday.

The similarity between the name given to the distinctions and the word “ignoble” is not a coincidence. The satirical prizes were launched in 1991 by Marc Abrahams, editor of the American humor and science magazine “Annals of Improbable Research” and often highlight small discoveries obtained during major investigations, which, viewed individually, seem absurd.

The list of winners continues with the most unexpected “experiences”. Metin Eren, from Ohio, for example, decided to test the story described in a book by an Inuit who built a knife from his own frozen feces. The anthropologist imitated the feat but no, the knife did not work, and won him a prize in the category “Materials science“.

In terms of “Medical Education“, the winners were Presidents Jair Bolsonaro (Brazil), Donald Trump (USA), Andrés Obrador (Mexico), Alexander Lukashenko (Belarus), Erdogan (Turkey), Putin (Russia) and Gurbanguly Berdimuhamedov (Turkmenistan) and the first- ministers Boris Johnson (United Kingdom) and Narendra Modi (India) Why, because they used covid-19 to show the world that politicians can have a more direct effect on matters of life and death than scientists and doctors themselves.

In the “Entomology“(specialty of biology that studies insects), the Ig Nobel was given to Richard Vetter, a scientist who analyzed the reason why insect scholars develop aversion to spiders. In”Psychology“won a method that identifies narcissists through the observation of their eyebrows, and the”Physics“was attributed to a study on the effect of high frequency vibration on the body of an earthworm.

Also note the category “economy“, which highlighted the study of the correlation between income inequality in a country and the average kisses on the mouth given by its citizens;”Medicine“, with the diagnosis of a new psychiatric illness – misophonia – whose patients suffer when they hear a person chewing;”Administration“, an award given to five Chinese murderers who were delegating to each other the task of killing a person and nobody succeeded in carrying out the crime, and”Paz“prize awarded to the governments of India and Pakistan for letting their diplomats ring the doorbell in the middle of the night and flee.

.

To play with the works and characters of Lorca! | Culture

Álex Peña did not have them all. He knew that he needed the support of the Federico García Lorca Foundation to be able to carry out his project. When he went to Granada to see the president of the organization, Laura García-Lorca, he found that in a small shop located next to the center dedicated to the poet they were selling a sandwich called Federico, made of Trevélez ham. “When I explained it to Lorca’s niece and how much it had to do with my idea, we both laughed and ended up supporting me,” says Peña. In fact, Laura García-Lorca puts her voice on one of the seven machines Recreational Federico (until 5 September at Casa Seat in Barcelona) which, based on the titles of Lorca’s works and characters, reflects on the commodification of the artistic legacy of Lorca and any creator with a dose of humor, criticism and poetry.

The slot machines, which allow you to play and interact – each has its own hydrogel – are the same that can be found in any establishment of a lifetime, but tuned with phrases, lights and music and with titles as evocative as Blood balls, in which, for one euro, a vending machine throws, at random, balls with bags of blood inside — actually a red liquid — with the blood groups of the groom or Leonardo; Bernarda Alba’s crane, in which the player’s expertise can win prizes such as Adela’s dedicated comb, Pepe el Romano’s perfume or the fan signed by all the protagonists of this rural drama; Don Perlimplín’s love with Belisa on her table football, in which the protagonists face their unequal love on a football field in the shape of a romantic park; Yerma at night, a machine in the shape of an Eiffel Tower that dispatches a condom with the name of the protagonist harassed by the infertility that Peña sees “walking drunk on the streets of Paris after killing her husband,” or Cadaqués invaders, in which in a surreal arcade game Lorca shoots the castanets of La Argentinita against a Dalí who responds by throwing flies that come out of his mustache and Gala, painted as Leda, eggs of a swan.

The without hats is a game of homage to the “invisible women of the 27th generation”, from María Teresa León to Rosa Chacel and Maruja Mallo, and can be heard in an interview in which he explained how he insulted them all for being uncovered the head, while the player must prevent them from removing the head. In the end the winning ranking is none other than the different Spanish education laws. There is also the machine designed to offer change, a traditional image of the neighborhood’s recreational games, which it represents So spend 5 euros, which allow you to play with the rest.

Halfway between the performance, the installation and performance that incorporates awards, music, video and interaction in these times that almost annuls it, Peña defines his work as “exodramatic, a word that I invented but that allows me to place me outside the dramatic language, but keep relating to the works ”. And he explains that his idea is based on observing how “when the artistic legacy becomes souvenir, dramatic literature becomes a game ”.

In Barcelona his poetic machines can be seen in a “hybrid space like my pieces”; surrounded by models, prototypes, motorcycles and electric scooters of the brand, but are designed for spaces such as the lobby, hallway or a corner of any cultural space, theater or similar, as seen before in the Federico García Center Lorca de Granada (where it premiered), the Madrid Autumn Festival, the L’Artesà del Prat del Llobregat Theater, the Teatro Central in Seville and the Valladolid International Theater and Street Arts Festival. If the coronavirus does not prevent it, it can be seen in October in the library of Gandia, in Valencia.

Return to Barcelona

The slot machines are another act of the tribute that Casa Seat pays to the poet of Fuente Vaqueros throughout this month of August in this center that opened its doors just a month ago in one of the nerve centers of Barcelona: the crossroads between Passeig de Gràcia and Diagonal (the Cinc d’Oros), where thousands of cars travel every day in Barcelona, ​​with the idea of ​​remembering that this brand “has been in the city for more than 70 years”, as highlight the Italian Gabriele Palma, director of Casa Seat, a center born with the intention of integrating into the cultural and economic life of Barcelona.

Among the transmedia activities and experiences scheduled in this tribute to the poet shot on August 19, 1936, the podcast Federico at home, the illustrations made by Jordi Labanda, Flavita Banana and Laura Serrano, the dramatized reading of a fragment of Blood Wedding, recorded on August 18 by Clara Segura; the installation in one of the corners of the new premises of a Lorca Library, blue indigo like the Barraca, of which the public can take copies of the most outstanding plays (published by Cátedra) of the granadí, or taste in the cafeteria a dessert created by Christian Escribà, inspired by the poem August and that they are served, as in the place of sandwiches of Granada, ordering a Federico.

Lorca’s presence in Barcelona is his return to the city, which he visited many times, the first in 1925 when he was invited by his friend Salvador Dalí, who two years later made the sets for the Goya Theater to premiere on his Mariana Pineda, starring Margarita Xirgu and which marked the beginning of her career as a playwright.

.

Sui generis black humor | The Basque newspaper

Alicia Schrödinger (Vienna, 1957), high-flying scientist (she has worked at the particle accelerator in Geneva, etc …) gathers 42 stories of disparate billing in this work with the seductive title ‘Who are and what do carnivorous plants feel?’ . Pieces dominated by black humor and original approaches – for example, the diary of a non-mobile phone. Menchu Gutiérrez points out in the prologue that Schrödinger –impossible not to think about the quantum experiment of her predecessor on the cat without seven lives, simultaneously alive and dead–, “addresses a kind of combination of two ways of laughing –the one

This collection of “infrared humor” stories covers a sui generis range of themes; from the vocational confinement in ‘The most ruin robbery’, or the revision of the pastoral stamp of the Bethlehem portal (‘The appearance’), the feelings of the laboratory plants or an elephantine strike of fallen trunks, a congress. The author gives a playful style to stories that pursue a surprising outcome, sometimes with unequal fortune, and that range from fierce, fierce and very funny feminism to ‘Four crucial moments in the life of a woman’ or ‘All for the a friendship ‘to the discovery of the’ imposture ‘of Antoine de Saint-Exupéry’ in ‘In honor of the truth’ or the last dark hours of the dog Laika.

Altogether, a mosaic of brief stories forged with a purpose between playful and hooligan, with more or less extravagant characters, sifted from scientific culture in some cases and that provoke a smile when not empathy and complicity, as happens in ‘The verdict’ .

‘Who are and what do carnivorous plants feel’ by Alicia Schr Dinger

Translation

Menchu ​​Gutierrez

Editorial

Siruela

pages

168

Price

18 euros (ebook, 9.49 euros)

.

The Travellin ‘Brothers with humor and culture

The truth is that it is a pleasure to attend these concerts that are held to replace the tumultuous festivals of the towns. You keep what matters (“culture”, as they were in charge of repeating and thanking the musicians that occupy us today) and you avoid the rest (the masses of people, the noisy txosnas, the tendentious political tabarra, the puddles of alcohol and pee …). In addition, in this pandemic situation, the concerts start earlier hours and you see them from a seat, which annoys many fans, we still do not explain why.

And so on Friday we bet on the Travellin ‘Brothers on the Paseo de La Canilla de Portugalete, which celebrates some ‘soft’ parties of San Roque. We passed the filters of the enclosed space (gel, temperature and give the name and a contact telephone number: I gave the one from El Correo!) And sat in the first row, from where we attended to his concert of 15 songs in 90 minutes as if we were watching it on TV, thanks to the quality of the sound (the group had new equipment and the clarity was like listening to a record at home) and to the show of the musicians themselves (choreography, sax and guitar solos on the front of the stage, and the humor of the French frontman, of the showman Jon Careaga).

“This is the funniest time I’ve seen the singer,” observed music lover Iñaki Gallardo about a Careaga with hilarious moments, as when he said he was comfortable in Santurtzi (the neighboring town, you know), when he revealed that the guitarist was irritated because he did not start singing at the beginning of the measure, or when he recalled the long hours that a quarter of a century ago he left take you through the alcoholic attractions of the nearby hill of Santa María.

Made us laugh, and also he left the table when he singsr, for example in the two ballads: ‘Tennessee whiskey’, an exciting version by his friend Earl Thomas intoned with the depth of soul of other Afro-vocalists such as Johnny Adams (“How beautiful!” said a lady in a row further back, «Bear ondo» cheered a lady to our right), and an extraordinary ‘Sweet souvenir’, the top of the appointment, a soul composition where the ether trembled, where the rhythm was tempered in a bluesy way and where the epilogue was enlisted to rock Southerner.

The sextet beating the diddley beat on the first, 'The spur'.
The sextet beating the diddley beat on the first, ‘The spur’. / ÓSCAR CUBILLO

Los Travellin’ Brothers de Leioa, the best European group in 2015 according to the European Blues Challenge, they connected from the beginning with the duly seated public, they advocated the viability of the concerts (“in cultural events there are no spotlights,” snapped the guitarist and head of the band Aitor Cañibano referring to the Chinese virus and not to the lights, evidently ) and, very fancy in their pret-a-porter aesthetic (good taste when choosing shirts; by the way, blues musicians dress much better than jazz musicians, something we will not tire of influencing), they combined a varied repertoire with diaphanous acoustics, high volume, variable speed and blackness and Americanisms embracestwo naturally apprehended throughout three decades of career.

In sextet format (they maintain other formations: ochote baptized Deluxe and the Big Band that they dust off on special occasions), they opened with diddley beat and the second time, pumbaa, the Texan rock and roll exploded ‘Oh, what a shame’ with plucking to the Albert Collins. The Traveling Brothers showed themselves dynamic and safe, they looked out to New Orleans, the saxophonist Alain was exhibited in long and visual solos, Jon announced train songs next to the Renfe station (the country gospel ‘This train is a bound of glory’, perhaps the whitest piece repertoire), and until goodbye they did not stop surpassing themselves in themes such as the two aforementioned ballads, the rock and roll hall of fame ‘I believe’ (Jon dropped his glasses in the middle of the dance and did not put them back on ), the happy soul ‘A better day’ (with another humorous introduction by Jon about how he composed it to cheer up the drummer Isi Redondo when he had to get up early… at 12 noon!) or two festive versions and nothing festive: ‘Ain’ t that a shame ‘by Fats Domino and’ Reet petite ‘by Jackie Wilson.

At the end of the concert, Jon exclaimed before exiting: “We will not have bars, but we will continue to have culture”. And some news: next Thursday (August 20 at 8 p.m.), in Santander, the Travellin ‘Brothers will open the cycle of eight free concerts’ Music in the Bay’ of the Botín Center, that is, if they are around they will not lose them.

.

Living from the story premieres “Double Personality”

| 28/07/2020 – 6:10am (GMT-4)

The popular Cuban television series Live the story introduced a new chapter called Double personality that was broadcast last Monday, July 27 on the small screen of the country.

In this new installment, subsequently uploaded to the YouTube channel of Pánfilo and More For the enjoyment of other viewers, the residents of the Havana neighborhood will have to face new problems that will make them test their friendship.

After more than three months in quarantine, Pamphilus Epiphanius He decides to go outside and visit the house of Ruperto, who lives with his nephew Isidoro.

What Pánfilo Epifanio did not imagine is that Isidoro was going to confess that he has a partner named Lisandro with whom he has started a love story.

However, Isidoro is afraid of losing him due to Ruperto’s homophobia and asks Pánfilo Epifanio a great favor to be able to keep his relationship away from his uncle and that consists of posing as him during a phone call.

The old man does not have time to refuse and while talking to Lisandro he ends up entangled in a misunderstanding that will create confusion among the neighbors regarding his sexual preference.

On the other hand, Checkbook begins to prepare a surprise birthday for Ruperto at his farm with the help of Cachita, Chacón and other neighbors. There all the misunderstandings will begin to come out in front of everyone, making the treat much more interesting.

How will Ruperto’s birthday party end? Will Isidoro manage to keep his relationship with Lisandro safe and away from his uncle? Don’t miss this new episode of Live the story.

You can follow CyberCuba Entertainment en Facebook, Instagram o Youtube.

.

When speaking a genius of humor

Gila would not be Gila without her phone. Like Charlie Chaplin and her cane, Groucho Marx and her cigar, or Harold Lloyd and her tortoiseshell-rimmed glasses, the icon of the Spanish comedian is inextricably linked to her wheel dial phone. At first she was acting alone, standing in front of a microphone, but she felt uncomfortable to interpret her cheeky monologues. Although he had the odd artistic couple like Tony Leblanc or Mary Santpere, the duet performance did not quite catch on. Gila only needed himself to speak to the war, with his mother-in-law or the president of the US Of course, he needed someone to give him the reply. It was then when he pulled the cable and found the ideal device to break his hieraticism. Not a few businessmen asked him to use his mobile, an invention that was already devastating at the end of the last century, but he resisted with boldness.

The Espacio Fundación Telefónica in Madrid, which has reopened its doors, has given the exhibition ‘Gila al apparatus’ a second chance, a tribute to the master of humor. The sample was opened months ago, but like all of them it closed suddenly with the appearance of the coronavirus. Now you can see the tribute to one of those geniuses who made absurdity and nonsense their hallmarks. The exhibits are not intended to make an exhaustive tour of his life, but they do shed light on his vast work and how he innovated in the different professional fields in which he was involved. And it is that Gila was able to print a new stamp on everything she undertook.

Apart from being a comedian, Miguel Gila Cuesta (Madrid, 1919-Barcelona, ​​2001) was an actor, writer, cartoonist of cartoons and casual advertising man. Of humble origin, he spent a life full of hardships. Survived the cold in a loft in Madrid with just enough. His father died when he was not born, so his mother became a widow at age 19. Then the war came and he joined the republican side when he was 17 years old. It was then when he saved his life in front of a firing squad, an event that he masterfully recreated on stage: “They shot me badly,” he said. And it was true, because there was no coup de grace and his executors were drunk. Among the corpses littered was a man who played dead. It was Gila, who fled carrying the other survivor of the massacre, Corporal Villegas. In his escape he left some military men with little aim who spent time eating roast chicken meat at the stake.

Prisoner in three jails

Despite the fact that he made the Spaniards laugh a lot with his warlike spells, Gila had cost his participation in the Civil War since he was taken prisoner by the troops of General Yagüe. He was locked up in three different prisons, in Yeserías, Santa Rita (Carabanchel) and Torrijos, where he coincided with Miguel Hernández. His past forced him to serve several years of military service. With much effort, he made a name for himself. His debut in Madrid occurred at the Fontana theater in 1951. On that occasion he came out dressed as a World War I soldier by the shell of the prompter and asked the respectable if that was the exit of the Goya subway. His first repertoire consisted of three monologues: the war monologue, one in which he recounted his experiences as a gangster in Chicago in the Al Capone gang, and the most revolutionary and surrealist, the story of his life: «When I was born, my mother was not at home ».

The stage outshone the cartoonist Gila. However, his graphic work is admired and constitutes one of his great contributions. He published in ‘La Codorniz’ and ‘Hermano Lobo’, and on his journey through American lands he founded the magazine ‘La gallina’. In the cinema, he participated in 35 films, while for the theater he went on to write comedies such as ‘I have a formal mummy’, ‘Open for death’, and ‘I shrugged freedom’. He once wrote a serious and uncomfortable play with his wife, Dolores Cabo, which left his followers perplexed. The piece was called ‘La pirueta’ and moved away from the humor of the absurdity with which it triumphed.

.

When speaking a genius of humor

Gila would not be Gila without her phone. Like Charlie Chaplin and her cane, Groucho Marx and her cigar, or Harold Lloyd and her tortoiseshell-rimmed glasses, the icon of the Spanish comedian is inextricably linked to her wheel dial phone. At first she was acting alone, standing in front of a microphone, but she felt uncomfortable playing her cheeky monologues. Although he had the odd artistic couple like Tony Leblanc or Mary Santpere, the duet performance did not quite catch on. Gila only needed himself to speak to the war, with his mother-in-law or the president of the US Of course, he needed someone to give him the reply. It was then when he pulled the cable and found the ideal device to break his hieraticism. Not a few businessmen asked him to use his mobile, an invention that was already devastating at the end of the last century, but he resisted with boldness.

The Espacio Fundación Telefónica in Madrid, which has reopened its doors, has given the exhibition ‘Gila al apparatus’ a second chance, a tribute to the master of humor. The sample was opened months ago, but like all of them it closed suddenly with the appearance of the coronavirus. Now you can see the tribute to one of those geniuses who made absurdity and nonsense their hallmarks. The exhibits are not intended to make an exhaustive tour of his life, but they do shed light on his vast work and how he innovated in the different professional fields in which he was involved. And it is that Gila was able to print a new stamp on everything she undertook.

Apart from being a comedian, Miguel Gila Cuesta (Madrid, 1919-Barcelona, ​​2001) was an actor, writer, cartoonist of cartoons and casual advertising man. Of humble origin, he spent a life full of hardships. Survived the cold in a loft in Madrid with just enough. His father died when he was not born, so his mother became a widow at age 19. Then the war came and he joined the republican side when he was 17 years old. It was then when he saved his life in front of a firing squad, an event that he masterfully recreated on stage: “They shot me badly,” he said. And it was true, because there was no coup de grace and his executors were drunk. Among the corpses littered was a man who played dead. It was Gila, who fled carrying the other survivor of the massacre, Corporal Villegas. In his escape he left some military men with little aim who spent time eating roast chicken meat at the stake.

Prisoner in three jails

Despite the fact that he made the Spaniards laugh a lot with his warlike spells, Gila had cost his participation in the Civil War since he was taken prisoner by the troops of General Yagüe. He was locked up in three different prisons, in Yeserías, Santa Rita (Carabanchel) and Torrijos, where he coincided with Miguel Hernández. His past forced him to serve several years of military service. With much effort, he made a name for himself. His debut in Madrid occurred at the Fontana theater in 1951. On that occasion he came out dressed as a World War I soldier by the shell of the prompter and asked the respectable if that was the exit of the Goya subway. His first repertoire consisted of three monologues: the war monologue, one in which he recounted his experiences as a gangster in Chicago in the Al Capone gang, and the most revolutionary and surrealist, the story of his life: «When I was born, my mother was not at home ».

The stage outshone the cartoonist Gila. However, his graphic work is admired and constitutes one of his great contributions. He published in ‘La Codorniz’ and ‘Hermano Lobo’, and on his journey through American lands he founded the magazine ‘La gallina’. In the cinema, he participated in 35 films, while for the theater he went on to write comedies such as ‘I have a formal mummy’, ‘Open for death’, and ‘I shrugged freedom’. He once wrote a serious and uncomfortable play with his wife, Dolores Cabo, which left his followers perplexed. The piece was called ‘La pirueta’ and moved away from the humor of the absurdity with which it triumphed.

.

The Punisher supports the movement Black Lives Matter

The anti-hero the most well known of the Marvel universe finds itself in turmoil. Used in recent years by extremist groups, activists, pro-gun, but also some police officers, the logo of the Punisher, a skull with long teeth, has been used by opponents of the Black Lives Matter. It symbolizes the origin of revenge and personal righteousness brought about by the so-called “Vigilante”, these vigilantes lonely to the limit of legality, capable of eradicating urban crime.

His creator Gerry Conway believes that the image of the Punisher has been used far too often misused. On Twitter, the writer has launched a competition for young artists of color to raise funds for Black Lives Matter. The stated objective is to “retrieve the skull of the Punisher as a symbol of justice rather than oppression police illegal“, explains the artist.

Open to all, free of charge and unpaid, this project is above all a fund-raiser for the movement. The creator hope that many artists will respond to this, “with a variety of styles and artistic approaches“. As for the debate on the question of the symbol of the Punisher, as an emblem of justice, Gerry Conway has confirmed that all of this remains a matter of debate.

For him, the idea of this maneuver is above all not to turn it into a symbol of oppression. “I want to deny the police the use of the symbol in attributing it to the Black Lives Matter. Call it the irony.

Frank Castle, aka the Punisher, was established in 1974. It appears for the first time in the comic book The Amazing Spider-Man #129. After the death of his wife and his two children, he immerses himself in a vendetta against the organized crime. Cynical and ruthless, he still prefers to kill his opponents rather than accepting their surrender, to deliver them up to justice. Its white skull, a symbol of vengeance and personal righteousness, has democratized the United States.

The character has been adapted three times in the cinema. Dolph Lundgren embodies this justicar adept of self-defence in 1989. Thomas Jane reprises the role in 2004. And then it was Ray Stevenson who endorse the suit in 2008 in Punisher: War Zone.

.