According to the CDC, in 10 percent of those drownings, the adult will actually watch the child do it, having no idea it is happening. Drowning does not look like drowning—Dr. Pia, in an article in the Coast Guard’s On Scene magazine, described the Instinctive Drowning Response like this:

“Except in rare circumstances, drowning people are physiologically unable to call out for help. The respiratory system was designed for breathing. Speech is the secondary or overlaid function. Breathing must be fulfilled before speech occurs.

Drowning people’s mouths alternately sink below and reappear above the surface of the water. The mouths of drowning people are not above the surface of the water long enough for them to exhale, inhale, and call out for help. When the drowning people’s mouths are above the surface, they exhale and inhale quickly as their mouths start to sink below the surface of the water.

Drowning people cannot wave for help. Nature instinctively forces them to extend their arms laterally and press down on the water’s surface. Pressing down on the surface of the water permits drowning people to leverage their bodies so they can lift their mouths out of the water to breathe.

Throughout the Instinctive Drowning Response, drowning people cannot voluntarily control their arm movements. Physiologically, drowning people who are struggling on the surface of the water cannot stop drowning and perform voluntary movements such as waving for help, moving toward a rescuer, or reaching out for a piece of rescue equipment.

From beginning to end of the Instinctive Drowning Response people’s bodies remain upright in the water, with no evidence of a supporting kick. Unless rescued by a trained lifeguard, these drowning people can only struggle on the surface of the water from 20 to 60 seconds before submersion occurs.”

This doesn’t mean that a person that is yelling for help and thrashing isn’t in real trouble—they are experiencing aquatic distress. Not always present before the Instinctive Drowning Response, aquatic distress doesn’t last long—but unlike true drowning, these victims can still assist in their own rescue. They can grab lifelines, throw rings, etc.

Look for these other signs of drowning when persons are in the water:

Head low in the water, mouth at water level

Head tilted back with mouth open

Eyes glassy and empty, unable to focus

Eyes closed

Hair over forehead or eyes

Not using legs—vertical

Hyperventilating or gasping

Trying to swim in a particular direction but not making headway

Trying to roll over on the back

Appear to be climbing an invisible ladder

So if a crew member falls overboard and everything looks OK—don’t be too sure. Sometimes the most common indication that someone is drowning is that they don’t look like they’re drowning. They may just look like they are treading water and looking up at the deck. One way to be sure? Ask them, “Are you all right?” If they can answer at all—they probably are. If they return a blank stare, you may have less than 30 seconds to get to them. And parents—children playing in the water make noise. When they get quiet, you get to them and find out why.

Source/article: [x]

I’ve been a lifeguard for 6 years now and of all the saves I’ve done, maybe two or three had people drowning in the stereotypical thrashing style. And even those, like the save I made last weekend, it was exactly like OP describes where the person’s head is going in and out of the water but it isn’t long enough to get any air. Mostly you recognize drowning by the look on someone’s face. If someone looks wide eyed and terrified or confused, chances are they’re drowning. That look of “oh shit” is pretty easily recognizable. And even if you can’t tell for sure: GO AFTER THEM ANYWAY. I’ve done “saves” where a kid was pretending to drown and I mistook it for real drowning, but that’s preferable to a kid ACTUALLY drowning.

Also please remember that even strong swimmers can drown if they have a medical emergency, get cramps, or get too tired. If your friend knows how to swim but they’re acting funny get them to land. And even if someone can respond when you ask them if they need help, if they say they do need help? GO HELP THEM.

However . If the victim is a stranger, I can’t recommend trying to get them. Lifeguards literally train to escape “attacks,” because people who are drowning can freak the fuck out and grab you and make YOU drown as well. If you do go in after someone, take hold of them from the back and talk to them the whole time. IF YOU ARE GRABBED: duck down into the water as low as you can get. The person is panicking and won’t want to go under water and should release you. Shove up at their hands and push them away from you as you duck under. Don’t die trying to save someone else.

When the lifeguard got us both out, a woman came running down and accused me of harming him and said he had been completely fine in the water. That there was no reason to drag him out of there. The lifeguard had to explain to her that her son had been drowning, to which her response was to say that she didn’t hear him call for help.

letter from a mother of a gay man. sent to ONE magazine, 1958.

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Lagomorpha Leporidae

by soulless_puppy

Relationships: Sam & Dean, Sam & Rowena

Tags: No Warnings Apply, POV Sam Winchester, Crack, Rabbits, Witchcraft, Mistaken Identity, Canon-Typical Misogyny, Season/Series 12, Case Fic

Summary: Once he has Dean’s fluffy five-pound body hugged to his chest, Sam breathes a sigh of relief.

sam version.

submissive service bottom

bratty provocative bottom

bottom pillow princess

power bottom mommy

as soon as sammy said “i do” to buttfucking and getting buttfucked on the regular, dean dusted his hands of any other hangers-on.

so he’s quite surprised when he fumbles around for a condom one night and sam shakes his head, bangs sticking to his forehead and fumbles it out of dean’s hand.

“no,” he pants, “in me, you have to come inside me dean, please. wanna feel you leaking out for hours.”

and well. fuck. dean can’t say no to that.

when it’s his turn in a few days, he rolls away from sam’s mouth and has to try to focus through sam’s open mouthed kisses and bites to his shoulder blades as he fumbles in his nightstand for a condom.

sam makes an honest to god whine when he sees it, and laces his fingers with dean, keeping dean from opening it up.

“please, dean,” he murmurs, kissing dean with enough tongue to make dean forget his own name, “wanna come inside you, don't you wanna feel me?" and somehow dean gets distracted and the next thing he knows, sam is staring intently at dean's hole, pushing his come back in with strong, overwhelming fingers.

it becomes a routine. dean'll fumble around for a condom or pull one out of his wallet or yank open the glovebox for them and sam's big clever fingers will slide it out of dean's palm and drop it to the floor or the sheets or the asphalt.

and dean can't really find it in him to complain because he's having the best sex of his life on a daily basis. sam barely lets him go fifteen hours without bending him over or pulling him down.

one day, sam jumps on dean as soon as they light a warehouse full of vampires on fire, pushing him up against the impala and fumbling wildly for dean’s belt. when sam starts rubbing his fingers down the back of dean’s sweaty day-three boxers, dean smacks at his hands and warns “hey man i haven’t had time to clean today” because dean doesn’t care if he is fucking his brother—saying i didn’t douche is embarrassing as fuck.

sam, if anything, kisses dean harder, takes dean’s wallet out of his back pocket, palms the lube and leaves the condom as he drops dean's wallet onto the ground.

dean, who gets yelled at if he doesn't wash his hands after using the urinal, balks. until, well, he's distracted. you understand.

dean wises up one day after he hauls his creaky joints out of bed to get sam a washcloth—he’s the picture of chivalry despite his brain being drained out through his dick, thank you very much—and comes back to find sam rubbing dean’s come into the inside of his thigh like a fancy lotion.

a lightbulb. dean’s little brother might be a fan of dirty messy possessive smelly sex. huh.

UPDATE:

The other day I was surfing the internet and I found this specialized painting colour wheel, it shows how real paint colours relate to each other. 

Outside: the purest/brightest colours from the tube.

Inside: naturally muted or earthy colors, like browns and ochres.

The Center: dark neutral tones used for mixing shadows.

The Lines: two equilateral triangles. One shows the triad of primary colors, and the other shows the triad of secondary colors. Triads are traditionally used to create vibrant yet perfectly balanced compositions.

Complementary colors: are those located directly opposite each other on the wheel.

Shadows I:

If you want to achieve rich, dark neutrals, the standard rule is to mix a color with its direct complementary (opposite) tone. However, doing this can often make your shadows look flat or muddy.

Instead of using the exact complementary color, the real trick is to use one of the colors right next to it (either to the left or the right). By doing this, you avoid a dull mix and introduce a beautiful, subtle color bias into your shadow, keeping it clean and full of life. You can see an example of this in the second image.

I want to share this with you because I think it is really illustrative!

She got the idea for the study while walking with her advisor at Stanford to discuss her thesis topic, and the paper she eventually published in the Journal of Experimental Psychology in 2014 is sharp enough that it should have ended the seated meeting on the day it came out.

She ran 4 experiments on 176 people. Same person tested twice. Once sitting, once walking. The creativity tasks were the standard ones psychologists have used for decades to measure how good a brain is at generating novel useful ideas.

81% of participants in the first experiment produced more creative ideas while walking than while sitting. In the second experiment, 88%. In the third, 100%. Every single person walked into a more creative version of themselves. On average, people generated 60% more novel useful ideas the moment their legs started moving.

The skeptical question is the obvious one. Maybe it was the fresh air. Maybe it was the scenery passing by. Maybe it was the change of environment doing the work, not the walking itself.

Oppezzo killed every one of those explanations with one experimental decision. She put people on a treadmill facing a blank wall. No scenery. No fresh air. No environmental change. Just legs moving in place while staring at white drywall. The 60% boost held.

Then she ran the experiment that closed the case completely. She took participants outside in two conditions. Half of them walked through a Stanford courtyard. The other half were pushed through the exact same courtyard in a wheelchair. Same outdoor stimulation. Same scenery passing at the same speed. The only difference was whether the legs were moving.

The walkers produced dramatically more novel high-quality ideas than the wheelchair group. The outdoors did almost nothing on its own. The walking did everything.

She also tested the opposite kind of thinking. Convergent thinking. The kind where there is one right answer and you have to narrow down to it. Word puzzles where 3 words share a hidden fourth word that connects them. The seated participants did slightly better on these. Walkers got slightly worse.

Walking is not a general intelligence enhancer. It does one specific thing. It opens up the divergent search inside your brain. The part that generates options. The part that produces unexpected connections. The part that takes a problem and finds five ways into it instead of one.

When you need to converge on the single right answer, sit down. When you need to find the answer in the first place, get up.

The mechanism is now well understood. Walking selectively activates what neuroscientists call the default mode network, the system inside your brain that runs when you are not consciously focused on anything. The DMN is where mind-wandering happens. Where memories cross-reference each other. Where ideas that have been sitting in separate folders inside your head finally bump into each other.

When you sit at a desk and force yourself to concentrate, you suppress the DMN. When you walk at a natural pace, the executive part of your brain gets just busy enough handling the walking that the DMN comes online and starts doing the work that focus was blocking.

The most useful finding in the entire paper is the one almost nobody quotes. The boost did not turn off the moment people stopped walking. Participants who walked first and then sat back down stayed elevated. Their next round of seated creativity work was still significantly better than people who had been sitting the whole time. The rest lingered for at least several minutes after the legs stopped moving.

You do not need to do creative work while walking. You need to walk before the creative work. The brain holds the state.