Larkin Love Superhero

Fetish/alt beauty Larkin Love stars in recent Burning Angel all-sexer "Comic Book Freaks and Cosplay Geeks" directed by alt superstar Joanna Angel. Love is not quiet or shy with her kinks and I love that about her. in this Burning Angel release, she lets her geek flag fly as well, appearing in two scenes in this porn love letter to nerdy girls. Here are Love's answers to twenty questions.

larkin love superhero

The Social Animal is a book of grand and diverse ambitions, by one of the nation's most intellectually creative journalists, New York Times columnist David Brooks. His aim is to revolutionize our culture's operative beliefs about human nature, using scientific studies that reveal the "building blocks of human flourishing." His book is part fiction, part nonfiction popularization (neuroscience, psychology, sociology), and part grand synthesis (intellectual history, social policy). The genre-blended result delivers some hybrid vitality, but at the expense of coherence and rigor. Brooks believes Western culture has a lobotomized view of human nature inherited from the French Enlightenment. Rene Descartes and other philosophers described humans as autonomous individuals endowed with powers of reason that are separate from and pitted against the emotions. The ability to flourish depended on an individual's suppression of his unruly passions. British Enlightenment thinkers such as David Hume and Adam Smith argued that we are fundamentally social beings, that our reasoning faculty is weak, and that our emotions are strong and can be usefully educated. The French rationalist view fit better with the rise of the mechanistic sciences. But old dualisms must now duel with data: Science supports the British view. In a fictional narrative, Brooks weaves vignettes from the lives of two characters, "Harold" and "Erica," to illustrate the "hidden sources of love, character, and achievement" of his subtitle. He uses their upbringings, educations, courtship, and so on to model what research shows are key influences on a successful life. For instance, Erica pursues a career in business after a successful entrepreneur with whom she identifies visits her school. Brooks explains that studies show that ambitious people "often have met someone like themselves who achieved great success." The Social Animal is a marathon surface skim of a sea of scientific studies. Brooks claims this isn't a science book, since it doesn't get its feet wet in the details. But the tradeoff of depth for a flood of factoids may satisfy neither fans of science writing nor lay readers. To give but one example: To illustrate the limits of the conscious mind, Brooks notes that at its peak it "has a processing capacity 200,000 times weaker than [that of] the unconscious." It's a tantalizing observation, but he doesn't indicate how this capacity was measured. As readers of his Times column might expect, Brooks serves up a smorgasbord of seductive sound bites and contagious coinages (e.g., "Emotional Positioning System"). But some fall flat (as in the New Age-y "the swirls that make up our own minds are shared swirls" and his snarky "sanctimommies"). And he struggles with conceptual laxity, missing opportunities to clarify or revolutionize the terms of the debate. He mainly uses the word "unconscious" to describe information processing that is emotional, instinctive, or not explicitly reasoned, though one of his key goals is to de-Freud our worldview and show that the "unconscious" isn't just a collection of dark, nasty urges. It's in his efforts to "draw out the social, political, and moral implications" of the science that Brooks reveals his true colors: He's a timid revolutionary. Though he makes some practical recommendations for education -- such as providing "structure for disorganized families" through parenting classes or intensive mentoring -- he chooses not to draw broader political conclusions. How should we deal with the fact that our economies and institutions are built on assumptions about human nature that are now demonstrably wrong? The human flourishing that Brooks describes is precisely what Thomas Jefferson had in mind when he quoted Aristotle's phrase "pursuit of happiness." Jefferson thought of the Declaration of Independence as a revolutionary document grounded in science. Brooks takes us toward a declaration of interdependence, based on scientific, if not yet self-evident, truths. For Jefferson and Aristotle, the individual pursuit of happiness meant a life well lived, which required strong relationships and the fulfillment of community obligations. They knew what science today is rediscovering -- that the flourishing of the individual depends on the flourishing of others. We aren't as far advanced in this revolution as Brooks would have us believe, but his book, despite its flaws, is a contribution to intellectual history in the making. Jag Bhalla is a writer and entrepreneur living in Washington, D.C. He is the author of I'm Not Hanging Noodles on Your Ears (2009), and is currently at work on a book about old ideas undergirding our discourse that are now demonstrably wrong.Read More function GetShareThisData() $('#hdnTitle').val(shareThisTitle); $('#hdnUrl').val(shareThisUrl); $('#hdnImage').val(shareThisImage); $('#hdnSummary').val(shareThisSummary); var pageId = 'dnn_ctr3307_BlogPage_lvBlog_ctrl3_ctl01_ctrShareThis_btnShare'; __doPostBack(pageId, ''); $(window).load(function () var switchTo5x = true; var stscr = document.createElement('script'); stscr.type = 'text/javascript'; stscr.async = true; stscr.src = " "; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(stscr, s); stscr.onload = stCB; stscr.onreadystatechange = function () if (stscr.readyState == 'loaded') stCB(); ; )(); function stCB() stLight.options( publisher: "bae1a3d7-1512-4fb2-acc3-5da55b80c173" ); #tablediv max-width:800px;hr max-width: 800px; align: left;Review-a-DayVirgil for Superheroes by Review-a-Day, September 26, 2011 12:00 AMSupergods: What Masked Vigilantes, Miraculous Mutants, and a Sun God from Smallville Can Teach Us about Being Human by Grant Morrison

Whether they be gods or angels, the idea of sentient beings beyond us mere mortals but recognizably similar has influenced human thought since the earliest days of tale-telling around the fire. In some tellings, they are of a state of grace from whence humans fell; in others they are a potential, something that might, by labor or virtue, be reached by all. In the 20th century, these tales were given new form with the advent, at the publishing of Superman's first adventure in Action Comics #1, of the superhero. This sub-genre of a sub-genre, born of the highest mythologies and the lowest pulp denominators, rose up from a declasse and maligned artform to become the dominant mythology of the modern world, influencing philosophical discourses as much as box office receipts. Grant Morrison is no stranger to these creatures. Long before he became one of the most acclaimed and popular comics writers of the last two decades, being trusted with the corporate treasures of Batman, Superman, and the X-Men, he was writing adventures of atypical ubermenschen, from suburban patriarch Animal Man, to outsider art vigilantes the Doom Patrol, to post-human popstar Zenith. With a somewhat holistic view of storytelling, Morrison is as well-versed in the writings of Giovanni Pico della Mirandola as he is in the secret origin of Spider-Man, and a full-length work by him on the superhero genre is a veritable literary occasion. Following a chronological structure beginning with the Man of Steel's debut in 1938, Morrison looks at superhero comics as both diagnosing and predicting the psychological flow of the modern western world. The shifting nature of Superman as an icon is explored, touching on the socialist revolutionary tendencies of the early stories which were revised to project a strict patriot visage come the outbreak of war. Wonder Woman, like so many super characters, is revealed to be born of her creator's world view as well -- William Moulton Marston, in addition to being the creator of the polygraph test, lived in a polyamorous relationship with his wife and their girlfriend, a sexuality beyond radical for the time and that greatly influenced many of those early Wonder Woman stories. As superhero adventures rose in popularity, the light struck from Krypton's last sun split in the prism of commerce, and soon they flew through the newsprint as thick as gnats. In the so-called silver age, when Marvel Comics created both a new breed of character and story, the stories became even more complex, with the emotional stresses of post-war America, youth culture, and the Vietnam War bleeding through from our world onto the page, and then back into the minds of impressionable youth everywhere. The icons shifted, seemingly without moving, ebbing and flowing between power fantasy manifestations to outcroppings of imagination -- Jimmy Olson gets a nod as a precursor to the identity-shifting art mechanics of David Bowie, Madonna, and Lady Gaga. The creators began to be recognized, no longer unknown draftsmen, and for some, such as artist-savant Jack Kirby, this acclaim brought with it enough power to begin to experiment not only with the form, but with the message. It's in the midst of the silver age that Morrison's own storyline intrudes into the book. Born in Scotland to a World War II veteran turned anti-nuclear pacifist and a bohemian renaissance woman, he grew up against the backdrop of the second age of heroes, the rise and fall of flower power, and the height of cold war paranoia. "Before the bomb was a bomb, it was an idea," he writes in the introduction, but Superman was a better one. Using his own life as an example, Morrison tries to drive home the concept of superheroes as altruistic ideas, archetypes of the transformation of tragedy into triumph. In Glasgow a depressed, lonely teenager has everything turned around by the magic (ritual and metaphorical) of strange clothes, fake names, and abilities far beyond those of mortal men; through the superhero, with its special name and costume, there is the concept of reinvention and the celebration of self. Beyond just wearing his heart on his sleeve, Superman bears his initial on the front of his shirt as a full realization of everything individual identity offers, proffering shades of Ayn Rand and Friedrich Nietzsche covered with day-glo glitter as a counter to nihilistic anti-life. It's the zenith of Morrison's exploration of what superheroes mean, and why this 20th-century genre took off as it did. Unfortunately, it's also the point where the book unravels a bit. The autobiographical inclusions certainly add several new layers to the book. If you treat Supergods as one of Morrison's famously multi-layered pieces of imaginative writing, such as his acclaimed series The Invisibles, it's another facet to reflect the whole. But as a critical essay on the meaning and relevance of the superhero, the structure starts to go off the rails when Morrison diverts into autobiography. As Supergods moves on to explore the last thirty years of the genre, the subject matter starts to resemble a situationist feedback loop. All of the unconscious emergences that shaped and defined the heroes of the golden and silver ages are now fully recognized and calculated by their modern creators. The histories and critiques are all well known, and the tropes have become so well-rehearsed and self-referential that the content becomes trapped in the context rather than enriched by it. Alan Moore's Watchmen may be the best example of this, as the book loses entire layers of relevance for the reader unfamiliar with the mystery men it deconstructs. Modern superhero comics, in a variety of ways, are shown to make more presumptions about their audience, obfuscating with elaborate liturgies or quantum continuities when they aren't stripping everything back to the most basic of archetypes. It's a completely alternate universe from the almost automatic writing of the seminal storytellers, one that probably merits a separate analysis altogether. All of which is not to say that Supergods isn't interesting, well-written, and exceptionally dynamic. Morrison is the ideal Virgil to have at your side in the divine comedy of superhero comics, an epic journey still underway thanks to creators like him.Read More function GetShareThisData() $('#hdnTitle').val(shareThisTitle); $('#hdnUrl').val(shareThisUrl); $('#hdnImage').val(shareThisImage); $('#hdnSummary').val(shareThisSummary); var pageId = 'dnn_ctr3307_BlogPage_lvBlog_ctrl4_ctl01_ctrShareThis_btnShare'; __doPostBack(pageId, ''); $(window).load(function () var switchTo5x = true; var stscr = document.createElement('script'); stscr.type = 'text/javascript'; stscr.async = true; stscr.src = " "; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(stscr, s); stscr.onload = stCB; stscr.onreadystatechange = function () if (stscr.readyState == 'loaded') stCB(); ; )(); function stCB() stLight.options( publisher: "bae1a3d7-1512-4fb2-acc3-5da55b80c173" ); #tablediv max-width:800px;hr max-width: 800px; align: left;Review-a-DayMysterious "Habibi" Cuts To The Core Of Humanity by Review-a-Day, September 25, 2011 12:00 AMHabibi by Craig Thompson 041b061a72