tag:blogger.com,1999:blog-51192362024-03-14T05:02:44.217+01:00Soul SphíncterThe Symbol LifeJames Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.comBlogger1646125tag:blogger.com,1999:blog-5119236.post-58591906240612800552015-01-17T11:24:00.001+01:002015-01-17T11:24:42.051+01:00DormantAfter 12 years this blog is currently dormant and will probably retire some day soon, only to buy a small stone house on a Greek Island. There it will spend its remaining days reading, writing and watching the sea.<br />
<br />
I am now <a href="https://medium.com/@JimBarrett">publishing on Medium</a> as well as textualizing <a href="https://twitter.com/JimBarrett">my life with Twitter</a> at an alarmingly regular rate. I post my music projects on <a href="http://poetwithtools.tumblr.com/">Poet With Tools</a>.<br />
<br />
/JamesJames Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-44453632471342269082014-06-18T19:45:00.000+02:002014-06-18T20:09:27.435+02:00Introducing On the Same Page (A Study in Language and Intersubjectivity)<iframe allowfullscreen="" frameborder="0" height="615" src="//www.youtube.com/embed/NUR3jFQasSI" width="760"></iframe><br />
<br />
This video introduces the "On the Same Page" (OtSP) project, a collaborative study in participatory sense making that includes clinical/neural psychology, language/narrative and performance art. It is a project initiative within the <a href="http://www.psy.umu.se/english/research/site/">SITE initiative in the Department of Psychology</a> at Umeå University, Sweden.<br />
<br />
My component of the project involves the opportunity to theorise the expansion of language in the On the Same Page Project. Embodied communication and the semiotics of the three-dimensional are just two areas that are outside the realms of verbal language but that at the same time define and support the space we share when we communicate with each other with spoken and written language. <br />
<br />
Symbolic modes that are bound up with the spatial - for example clothing, body modification (such as tattooing) and gender play - are examples that are common for negotiating the social today. These realms of communication can be seen as exemplified in the gesture. Sign language is perhaps the most developed mode for gestural communication, but we all use gesture to communicate. Gestures are shared as nodes in the cultural fabric of reality. In fact I would argue that gestures are a primary mode for expression and experimentation within the components of social identity today. New media, such as video games, exploit gesture as a mode of communication to both convey narrative and engage in play.<br />
<br />
My contribution to OtSP is to take up the non-verbal elements that are aspects of communication and place them in broader communicative contexts. The spatial is perhaps the most obvious of these broader contexts. I look forward to experimenting with how performance can intersect with shared spatial codes to result in evidence of intersubjectivity in relation to communication and ultimately identity and meaning. My hope is that the results of these experiments will be in the direction of contemporary narrative studies.<br />
<br />
<br />James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-12739505503617639272014-06-06T11:37:00.001+02:002014-06-06T11:44:54.864+02:00Introduction to Thesis Chapter Two: The Spatial in the Digital Preface<style>@font-face {
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5-pG5hUF01d4Yreei9PNXcuh2ujHYBB32xi7B44VqUK75u0x1vuayrQ0M17QC4hC-DpWClHmQ7s4neU0sIKVSfYAeFeQmqfJrAxpFubc3EzQ0kAk2t2Omx5_RrXVbKJlyGIcheA/s1600/Dreamaphage_Intro.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5-pG5hUF01d4Yreei9PNXcuh2ujHYBB32xi7B44VqUK75u0x1vuayrQ0M17QC4hC-DpWClHmQ7s4neU0sIKVSfYAeFeQmqfJrAxpFubc3EzQ0kAk2t2Omx5_RrXVbKJlyGIcheA/s1600/Dreamaphage_Intro.png" height="332" width="640" /></a></div>
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<span style="font-family: inherit;"><span lang="EN-US" style="font-size: small;">Figure 2.1: <i>Dreamaphage</i>
introduction, describing the spaces of the work in the contexts of narrative.</span><span style="font-size: small;">
</span></span><br />
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US" style="font-size: small; line-height: 150%;">This
chapter examines how the prefaces to the digital works introduce the spatial in
preparation for reader interaction. This preparation is manifest in two forms: firstly,
as representations of space; and secondly, in the establishment of representational
space. The representation of space follows a tendency “towards a system of
verbal (and therefore intellectually worked out) signs” (Lefebvre 39), which
are manifest </span><span lang="AZ-LATIN" style="font-size: small; line-height: 150%;">in the prefaces as maps, diagrams
and images.</span><span lang="AZ-LATIN" style="font-size: small; line-height: 150%;"> </span><span lang="EN-US" style="font-size: small;">These systems include rules for interaction
with the digital works. </span><span lang="EN-US" style="font-size: small; line-height: 150%;">In conjunction with the
representation of space, representational space in the prefaces “overlays
physical space, making symbolic use of its objects” and is composed of “more or
less coherent systems of non-verbal symbols and signs” (Lefebvre 39). </span><span lang="AZ-LATIN" style="font-size: small; line-height: 150%;">The prefaces introduce the reader to representational space via
narrative elements such as characters and objects. </span><span lang="EN-US" style="font-size: small;">By examining these features of representational
space, I establish how the prefaces introduce the reader to the digital texts,
and in particular interaction with them, but positioning her in relation to the
spaces of narrative. </span><span lang="AZ-LATIN" style="font-size: small; line-height: 150%;">I argue </span><span lang="EN-US" style="font-size: small;">the prefaces establish representational space
and the representation of space</span><span lang="EN-US" style="font-size: small; line-height: 150%;"> </span><span lang="AZ-LATIN" style="font-size: small; line-height: 150%;">and in doing so establish rules related to the spatial for
interacting with the digital works. </span><span lang="EN-US" style="font-size: small;">Interaction is represented in the prefaces on the condition of
compliance: firstly, with the rules of the representation of space; and
secondly, with the objects, characters and narrative references introduced
within representational space. By introducing spaces in the works thus, the
prefaces assert control over interaction with the digital works.</span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US" style="font-size: small;"> The
prefaces introduce the spatial as the means for achieving goals. In the preface
to <a href="http://collection.eliterature.org/1/works/nelson__dreamaphage.html"><i>Dreamaphage</i></a> (See Figure 2.1) a
cure is said to reside in the dreams of the characters, where “all other
methods are errors. The words of these books, their dreams, contain the cure” (<i>Dreamaphage</i>). The prefaces guide the
reader towards the goal of the cure “hidden in the dreams themselves”. The
preface describes <i>Dreamaphage</i> as
containing hidden elements deep within its spatial structures, including
“dozens of hidden buttons and lost texts,” that are “leading to the books” (<i>Dreamaphage</i> Preface). These emphasized
points, buttons, objects, lost texts and the books, represent stages </span><span lang="EN-US" style="font-size: small; line-height: 150%;">moving toward (“leading to”) goals. </span><span lang="EN-US" style="font-size: small;">The prefaces to <a href="http://califia.us/avegypt.htm"><i>Egypt</i></a> also suggest goals (e.g. the command; “You may not want to
read it now, but take it with you when you go!” <i>Egypt</i>), which focus on a presence for the reader in the spaces of
the text. In this context of goals,
space is more than just a structural component to the texts; it functions as a </span><span style="font-size: small;">representative
<span lang="EN-US">meta-medium governing all interaction,
including reading and navigation. This structuring follows the meta-organizing
principles I have already described as grounded in Lefebvre’s tri-partite model
of production. In the digital works, the reader is given specific goals, such
as locating the name spell in <i>Egypt</i>
or the cure to the dreamaphage virus in <i>Dreamaphage</i>,
and solving the relationship problems in <a href="http://www.interactivestory.net/">Façade</a> of Grace and Trip, “an
attractive and materially successful couple in their early thirties” (<i>Façade</i> website). I argue that these instructions
are attempts to prescribe interaction with the spaces of the works.</span></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US" style="font-size: small;"> I
begin by describing the prefaces as examples of remediation how the referencing
of older media sets the initial boundaries for interaction. I argue this
remediation is a controlling element in the prefaces and is part of their
paratextual function. I then explain how the prefaces prepare the reader for
the spatial components of the works. I go on to clarify how the prefaces reference
the space of the texts, and as a result </span><span lang="EN-US" style="font-size: small; line-height: 150%;">position
the reader in relation to interaction. The prefaces to </span><span style="font-size: small;"><i><span lang="EN-US">Façade</span></i><span lang="EN-US"> are the
website;</span><a href="http://www.interactivestory.net/"><span lang="EN-US"> http://www.interactivestory.net/</span></a><span lang="EN-US"> (ii) a Frequently Asked
Questions (FAQ); and (iii) “Behind the Façade” (a PDF document published
separately from the other two components).</span><a href="https://www.blogger.com/blogger.g?blogID=5119236#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-US">[1]</span></span></span></span></a><span lang="EN-US"> <i>Egypt</i>’s
prefaces are; (i) the introduction (with dedication, Figure 2.2 below); (ii)
the Glossary and Rubric; (iii) the maps (Figure 2.4); and (iv) the “Papyrus
Sections” (Figure 2.4). The <i>Dreamaphage</i>
prefaces are; i) the introduction from the published work by the Electronic
Literature Organization; (ii) a further two-stage introduction; and (iii) a
brief Help guide.</span><a href="https://www.blogger.com/blogger.g?blogID=5119236#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-US">[2]</span></span></span></span></a><span lang="EN-US"> The preface to <a href="http://www.e-garde.net/description/lmr.html"><i>Last Meal Requested</i></a> is a description of narrative context but does
not prescribe reading. <i>Last Meal Requested</i>
is also archived at the Rhizome Artbase (</span><a href="http://rhizome.org/artbase/artwork/16975/"><span lang="EN-US" style="color: windowtext; text-decoration: none;">http://rhizome.org/artbase/artwork/16975/</span></a><span lang="EN-US">), where it features a prefatory
artist statement introducing the main themes of the work.</span><a href="https://www.blogger.com/blogger.g?blogID=5119236#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-US">[3]</span></span></span></span></a><span lang="EN-US"> I argue that the prefaces prescribe interaction in how space is</span><span lang="AZ-LATIN" style="line-height: 150%;"> first presented in maps
and diagrams according to representations of space and through representational space.</span></span></span></div>
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=5119236#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Cambria; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Cambria; font-size: 7.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></span></a><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Cambria; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> “Behind the Façade” can be ordered as a PDF document from the authors.
It is sent via email once a five dollar charge is paid online.</span></span></div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=5119236#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="mso-ansi-language: EN-US;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Georgia; font-size: 7.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US;">[2]</span></span></span></span></span></a><span lang="EN-US" style="mso-ansi-language: EN-US;"> Both the prefaces to <i style="mso-bidi-font-style: normal;">Dreamaphage</i> are accessible from </span><a href="http://collection.eliterature.org/1/works/nelson__dreamaphage.html"><span lang="EN-US" style="mso-ansi-language: EN-US;">http://collection.eliterature.org/1/works/nelson__dreamaphage.html</span></a><span lang="EN-US" style="mso-ansi-language: EN-US;"> </span></div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=5119236#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: Georgia; font-size: 7.0pt; mso-ansi-language: SV; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US;">[3]</span></span></span></span></a>
<span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Cambria; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The present study works with the copy kept at www.e-garde.net.</span></span></div>
</div>
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James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-9542801110213241242014-05-18T17:36:00.002+02:002014-05-18T17:36:31.268+02:00Instructional Design<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirolBMIxl30kvwiejL9SPhGZh6jzFoC5kHVqLmOiBICYFuEgff2d59bY37vmo0Yesoc06wqGMO8rYFFPzHhWKx0iJoWZAiWt4sn5Bcs2jF77h9efpu7xPX7fR4iKCEGSGYSho7mw/s1600/Dick_Carey.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirolBMIxl30kvwiejL9SPhGZh6jzFoC5kHVqLmOiBICYFuEgff2d59bY37vmo0Yesoc06wqGMO8rYFFPzHhWKx0iJoWZAiWt4sn5Bcs2jF77h9efpu7xPX7fR4iKCEGSGYSho7mw/s1600/Dick_Carey.png" height="210" width="640" /></a></div>
<div style="text-align: center;">
<i>The Dick and Carey Systems Approach Model</i><br />
(The model was originally published in 1978 by Walter Dick and Lou Carey in their book entitled <a class="external text" href="http://books.google.com/books?hl=en&lr=&id=a0gdmLZwI8IC&oi=fnd&pg=PA71&dq=The+Systematic+Design+of+Instruction" rel="nofollow"><i>The Systematic Design of Instruction</i></a>)</div>
<br />
I am currently working as an instructional designer. I find design a fascinating area to work in. For me it is the borderland between i) materials and technology, ii) use and iii) meaning/representation. I have been working in this job for 5 months now and I am starting to feel more confident regarding processes for creating instructional media and the thinking that goes behind it. My area is high-end medical technologies. <br />
<br />
I would like to record here some of my early ideas regarding instructional design.<br />
<br />
Strategy: “employing whatever resources are available to achieve the best outcome in situations that are both dynamic and contested” (<a href="http://www.economist.com/news/books-and-arts/21588834-strategies-too-often-fail-because-more-expected-them-they-can-deliver-why">Freedman</a>)<br />
<br />
Dick and Carey made a significant contribution to the instructional
design field by championing a systems view of instruction, in contrast
to defining instruction as the sum of isolated parts. The model
addresses instruction as an entire system, focusing on the
interrelationship between context, content, learning and instruction.
According to Dick and Carey, "Components such as the instructor,
learners, materials, instructional activities, delivery system, and
learning and performance environments interact with each other and work
together to bring about the desired student learning outcomes". The components of the Systems Approach Model, also known as the Dick and Carey Model, are as follows:
<br />
<ul>
<li>Identify Instructional Goal(s): A goal statement describes a skill,
knowledge or attitude (SKA) that a learner will be expected to acquire</li>
<li>Conduct Instructional Analysis: Identify what a learner must recall
and identify what learner must be able to do to perform particular task</li>
<li>Analyze Learners and Contexts: Identify general characteristics of
the target audience, including prior skills, prior experience, and basic
demographics; identify characteristics directly related to the skill to
be taught; and perform analysis of the performance and learning
settings.</li>
<li>Write Performance Objectives: Objectives consists of a description
of the behavior, the condition and criteria. The component of an
objective that describes the criteria will be used to judge the
learner's performance.</li>
<li>Develop Assessment Instruments: Purpose of entry behavior testing,
purpose of pretesting, purpose of post-testing, purpose of practive
items/practive problems</li>
<li>Develop Instructional Strategy: Pre-instructional activities, content presentation, Learner participation, assessment</li>
<li>Develop and Select Instructional Materials</li>
<li>Design and Conduct Formative Evaluation of Instruction: Designers
try to identify areas of the instructional materials that need
improvement.</li>
<li>Revise Instruction: To identify poor test items and to identify poor instruction</li>
<li>Design and Conduct Summative Evaluation</li>
</ul>
With this model, components are executed iteratively and in parallel, rather than linearly.James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-67508469937118283562014-05-18T17:35:00.001+02:002014-05-18T20:43:38.926+02:00The Internship - A Vision of a Google World<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/cdnoqCViqUo" width="560"></iframe>
<br />
<br />
<a href="http://en.wikipedia.org/wiki/The_Internship">The Internship</a> is a 2013 comedy directed by Shawn Levy, written by Vince Vaughn and Jared Stern, and produced by Vaughn and Levy. The film stars Vince Vaughn and Owen Wilson. It is a lighthearted look at the labor market and generational politics, with a light romance background story. It is not going to be a classic in the future, but it does have a lot to say about the sort of world we would have if Google defined culture. I am thinking about the combined vision of
society and production it presents. The title itself is a giveaway I
suppose but the deeper I get into the film I see it as an account of the
working conditions and social order that organizations such as Google
would like to see as standard in the world. <br />
<br />
Obviously competing for jobs. But this competition also
includes identity. Because to quote the film; "sometimes the most
radical move is to be yourself". This self is defined by senseless hard
work and no fixed status. The self also has a physical dimension, and
the dinner between the Aussie executive and Owen's character defines
what a jerk is: with "A moment on the lips forever on the hips" - bodies
are people. <br />
<br />
<div>
The only way to be educated is by
paying for tuition (as two strippers tell us) or attending corporate colleges (Google
Campus, the scene of most of the story). Its about 'hard work' and not "a fancy education". The
often referred to University of Phoenix or as they call it in the film "the Harvard of the
Internet" is real and "offers campus and online degree programs,
certificate courses, and individual online classes":<br />
<blockquote class="tr_bq">
"The University of Phoenix (UOPX) is an American for-profit
institution of higher learning, headquartered in Phoenix, Arizona,
United States. The university has an open-enrollment admission policy,
requiring a high-school diploma, GED, or its equivalent as its criterion
for admissions. The university has 112 campuses worldwide and confers
degrees in over 100 degree programs at the associate, bachelor's,
master's and doctoral degree levels. It is a wholly owned subsidiary of
Apollo Group Inc., a publicly traded (NASDAQ: APOL) Phoenix-based
corporation that owns several for-profit educational institutions." - <a href="http://en.wikipedia.org/wiki/University_of_Phoenix" target="_blank">http://en.wikipedia.org/wiki/<wbr></wbr>University_of_Phoenix</a></blockquote>
</div>
<div>
Failure is described in the sauna scene as a flawed
information footprint. Working in a strip club while studying to be a
dental hygienist is success, as the money falls from the air in one
scene with the pole dancers. But not having a straight story online is a
huge problem:</div>
<div>
<br />
<blockquote class="tr_bq">
"Google has singlehandedly cut into my ability to bullshit" "<br />
"Cramping your style?" <br />
"Making you a better person?"</blockquote>
</div>
<blockquote>
<div>
"Yes"</div>
</blockquote>
<div>
The need for a registered and monitored presence online is
emphasized in the Google Help sequence. Firstly Google Online help is
only available to business customers. There is no direct online support
for non-paying customers. But the character who does not log in and
therefore his work does not exist is part of the hegemony of sanctioned
and controlled information. </div>
<div>
<br /></div>
<div>
The society of The Internship is not about
inclusive places, social positions or even people. Its about progress
through the artificial creation of needs. It is defined by the line in the film "We've had lots
of jobs but we are trying to build a future here". </div>
<div>
<br />
I associate the surveillance and corporate governance of The Internship with the emerging <a href="http://en.wikipedia.org/wiki/Trans-Pacific_Partnership">Trans Pacific Partnership</a>, whereby production is governed by the beliefs that; <br />
<blockquote class="tr_bq">
"commits the parties not to set or use labor or environmental laws
or practices either for trade protectionist purposes nor to weaken such
laws or practices to encourage trade and investment" (<a href="http://fpc.state.gov/documents/organization/145583.pdf" target="_blank">http://fpc.state.gov/<wbr></wbr>documents/organization/145583.<wbr></wbr>pdf</a> p13). </blockquote>
Its a free market for labor and environmental laws. When the competing interns in the film approach a mom and pop pizza place to advertise with Google, the line they take to sell the service is about a form of globalization we are increasingly familiar with today:</div>
<div>
<blockquote class="tr_bq">
"Hasn't the neighborhood gotten a little bit bigger?"</blockquote>
</div>
<blockquote>
<div>
"We're not asking you to abandon the artistry, we are asking you to expand the reach" </div>
</blockquote>
<blockquote>
<div>
"All waiting at the click of a button"</div>
</blockquote>
<div>
Its a disturbing vision where everything is channeled through the search engine and all alternative forms of organization and regulation are void. Information may be power. But all information is reality.</div>
<div>
<br />
(BTW
- Flashdance, a meme in the film The Internship, came out in 1983. On
January 1 1983 the migration of the ARPANET to TCP/IP was officially
completed and this is considered to be the beginning of the true
Internet).</div>
<div>
<br /></div>
James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-76495136829201094602014-04-24T23:35:00.003+02:002014-04-24T23:37:44.501+02:00The Solitude of Palliative Care<div class="contentDesc GdnSanDS3Reg">
I read One Hundred Years of
Solitude in 1996, while my mother and I nursed her mother through the
final months of terminal cancer. I had grown up with my grandmother and
her stories. She was born in 1912 and did not go to school, instead she
rode wild horses through prickly pear on the central western Queensland
cattle property her father had built from scrub. She grew up with tribal
Aborigines, with the Depression, self-sufficiency, but also dressing
for dinner and having books sent out from England by boat.<br />
<br />
The experience of reading One Hundred Years of Solitude at this time
changed my life. My grandmother died about the same time I finished the
book, and I returned to my inner city bohemian share house in Sydney and
sold all my possessions. I then began four years of constant travel
around Australia and around the world. I earned my money by being a
street musician, boat builder, farm laborer and smuggler. I had entered
the world of possibility and coincidence. <br />
<br />
For me the fluid, cyclical and charmed world of One Hundred Years of
Solitude cast a glow over everyday life. It gave me courage to take a
chance, to throw caution to the wind and step outside the habits and
routines of what is expected by some unwritten social code. The
characters shimmered and flickered and died, not living safe and
predictable lives, but remaining true to their inner thoughts and
feelings. The world is amazing. This is what Gabriel Garcia Marquez
taught me.<br />
</div>
<div class="contentDesc GdnSanDS3Reg">
Published in The Guardian Online: <a class="witness-report-wgt" data-base="http://witness.theguardian.com" data-content-id="report/937435" data-content-type="report" href="http://witness.theguardian.com/assignment/5343c05ae4b053db358db05f/937435">The Solitude of Palliative Care</a></div>
<br /><script charset="utf-8" src="http://witness.theguardian.com/embed/embed.min.js"></script>James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-29387216701986717612014-04-22T21:19:00.002+02:002014-06-15T22:09:15.011+02:00In the Future We Will Live the Time We Have the Means to Afford to Live.<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5zrVdmLIxti7uzDUutLe_m_qye98LPuPE0L5CMEdY6ZH1P_u4lQ5L3DIOD_VqroY9SHJtNnA6546IK8jbFd-Jdb6KBCWvAFW_3_VaZoW72VOoGfAGEjPpiGVZMSQCw9U4e4Sr4w/s1600/Gozzoli-LProcession-BR800.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5zrVdmLIxti7uzDUutLe_m_qye98LPuPE0L5CMEdY6ZH1P_u4lQ5L3DIOD_VqroY9SHJtNnA6546IK8jbFd-Jdb6KBCWvAFW_3_VaZoW72VOoGfAGEjPpiGVZMSQCw9U4e4Sr4w/s1600/Gozzoli-LProcession-BR800.jpg" height="502" width="640" /></a></div>
<br />
<blockquote class="tr_bq">
"Truth is a thing of this world: it is produced only by virtue of multiple forms of constraint. And it induces regular effects of power. Each society has its regime of truth, its “general politics” of truth: that is, the types of discourse which it accepts and makes function as true; the mechanisms and instances which enable one to distinguish true and false statements, the means by which each is sanctioned; the techniques and procedures accorded value in the acquisition of truth; the status of those who are charged with saying what counts as true’" (Foucault 1980 131).</blockquote>
Those who use the Internet are not the agents of power, but are its instruments, its police. Online millions of people contribute to their virtual personae, in a production composed of images, text and audio. The acceptance of image online as meaningful and important does not bestow power to anyone. It locks people, (including celebrities themselves) into webs of trivia and brand-based marketing. <br />
<br />
Power has always operated in networks. The Medici could not have been the most powerful family in Tuscany without a network of communication, media and bureaucracy that was based on 'Truth' to support and exercise that power. <br />
<br />
With a massive media system now in place globally we are not seeing a revolution in the network. Many follow a similar path to <a href="http://www.benkler.org/Benkler_Wealth_Of_Networks.pdf">Yochai Benkler, in The Wealth of Networks</a>:<br />
<br />
"Benkler tends to overstate the novelty of social production. Firms, for example, have long employed internal markets; delegated decision rights throughout the organization; formed themselves into networks, clusters, and alliances; and otherwise taken advantage of openness and collaboration. Many different organizational forms proliferate within the matrix of private-property rights. Peer production is not new; rather, the relevant question concerns the magnitude of the changes." - <a href="http://www.independent.org/publications/tir/article.asp?a=721">The Independent </a><br />
<br />
I would go on to argue it is the small, the unknown, the rare, secret and the enclosed where power is more likely to be realized in terms of autonomy that can lead to more definite social change and new ideas. <br />
<br />
I do not believe the most powerful organizations and people on earth are on Twitter and Facebook. Those that use social media and have roles in powerful organizations, for example the World Economic Forum, (which actually has no policy and decision making powers but does include major stakeholders) are not the superstars of social media. I support this idea with the attached graphic from the last WEF in Davos that shows the tweeting was pitiful - 12 278 in total and most of them coming from the USA<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLSUd7IXVbxSM4_ZBIQ7uryjb6OW25zTKFYQNxgTxKHvtRoH_5Kk25ceKDdr9O7mjo5ZVGZm0Erw7vKPxoYRS-fpwz0EXXHUKU3Qq-UGKPkqHaKqgYS8suZaTOrgfW78NMW2Ulew/s1600/Tweets+from+Davos+WEF+2014.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLSUd7IXVbxSM4_ZBIQ7uryjb6OW25zTKFYQNxgTxKHvtRoH_5Kk25ceKDdr9O7mjo5ZVGZm0Erw7vKPxoYRS-fpwz0EXXHUKU3Qq-UGKPkqHaKqgYS8suZaTOrgfW78NMW2Ulew/s1600/Tweets+from+Davos+WEF+2014.jpg" height="446" width="640" /></a></div>
<div style="text-align: center;">
(from <a href="http://www.weforum.org/events/world-economic-forum-annual-meeting-2014/social">http://www.weforum.org/events/world-economic-forum-annual-meeting-2014/social</a>). </div>
<br />
The smokescreen of truth in the form of mass attention to something that says very little and does not share Power with anyone.<br />
<br />
Just thinking about what makes the present cultures and societies different, if indeed they are, from earlier similar formations, is the speed of digital media that can result in what has been termed 'Virtual':<br />
<br />
“In the virtual, we are no longer dealing with value; we are merely dealing with a turning-into-data, a turning-into-calculations, a generalized computation in which reality-effects disappear. The virtual might be said to be truly the reality-horizon, just as we talk about the event-horizon in physics. But it is also possible to think that all this is merely a roundabout route towards an as yet indiscernible aim.”- Jean Baudrillard. Passwords. Translated by Chris Turner. London: Verso. 2003: 40-41.<br />
<br />
Contrary to the anything that can be termed 'revolutionary' in the idea of a <a href="http://www.ebbemunk.dk/misc/bard.html">Netocracy</a> (“those who are connected in interactive networks” - Bard), it seems many see the concept as simple digital production supplying markets, such as these entrepreneurs in Eastern Europe.<br />
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="515" src="//www.youtube.com/embed/l_Nves1EO3U" width="760"></iframe>
<br />
<br />
To extend Baudrillard’s idea, this is just an example of labor and focus turning-into-brand. Here the web is not separate from life but needs the 'need' to be created as "The virtual might be said to be truly the reality-horizon".<br />
<br />
I would venture to say that while money is now electronic and pan-global and national currencies may wither, the enforcement of Power through capital ratios associated with money will remain. Bitcoin is just the first wave of a symbolic value experience that will be run as a program, but I believe it will maintain the same dependencies and prohibitions that money has done for centuries.<br />
<br />
In relation to the free-ness of Gmail, Facebook etc. 'Free' is here defined by what we are prepared to exchange for a service - a single point in a demographic network or time, or advertising space or data. But Gmail and all the others are creating unequal value for everyone. Traditional sharecropping is managed a similar way. Again, an ancient future.<br />
<br />
Finally I would go as far as to say the future is exhausted and this is reflected across those cultures that are adapting to the power that comes with the Virtual. This idea is posited on the fact that the future as a concept was invented - born out of a desire for progress, a belief in historical change, an abandonment of tradition and so on. The future just may not be a sustainable concept in a virtual sense. One example of this I think about a lot is the rampant nostalgia of today in the economies that support abstract levels of symbolic exchange. Examples include retro, hipster, evangelical, right wing extremist- all have nostalgia at their core, often for a time that never really existed. In the future we will live the time we have the means to afford to live. Meanwhile pre-Virtual economies continue to negotiate the encroachment of the virtual via the national, tribal and religious systems of power and economy. Colonial powers take advantage of these systems and exploit them.<br />
<br />
Critique remains all we have.<br />
<br />
<b>Cited Works</b><br />
Baudrillard, Jean. <i>Passwords</i>. Translated by Chris Turner. London: Verso. 2003.<br />
<br />
Benkler, Yochai. <i>The Wealth of Networks : How social production transforms markets and freedom</i>.New Haven: Yale UNiversity Press, 2006.<br />
<br />
Foucault, M. (1980): ‘Truth and Power’. In C. Gordon (ed.): <i>Power/knowledge. Selected Interviews & Other Writings by Michel Foucault, 1972-1977</i>, Brighton: Havester, pp. 109-133.James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-63802938092938423712014-04-15T20:54:00.002+02:002014-04-15T20:55:44.973+02:00Read the Books of Peaches Geldof Part Two<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgimKNNa9kc-RSEf3n3qwcWKIDpoJSb9b9k9LOzyilxcW_9EPr3HRofMgcBfMzXePtN_tu2eUy60pCryk3PHfzyygfPfS-pX7Pu35c0z0vOCOmLwf9i3iHseuEkDVKsJwIBa_-IVA/s1600/The+Books+of+Peaches.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgimKNNa9kc-RSEf3n3qwcWKIDpoJSb9b9k9LOzyilxcW_9EPr3HRofMgcBfMzXePtN_tu2eUy60pCryk3PHfzyygfPfS-pX7Pu35c0z0vOCOmLwf9i3iHseuEkDVKsJwIBa_-IVA/s1600/The+Books+of+Peaches.tiff" height="640" width="640" /></a><br />
Continuing on from <a href="http://www.soulsphincter.com/2014/04/read-books-peaches-geldof-read-part-one.html">my earlier post in providing links to PDFs</a> for the books that featured on the shelfie published by Peaches Geldof weeks before her sad and as yet unexplained demise. I post this second and final installment on the bottom shelf of the above image here to provide access to many classic texts on the occult while public interest has been stirred. If you want to honor the memory of Peaches, why not read a book she was a fan of.<br />
<br />
Beginning on the lower shelf, we have already posted a link to a PDF for <a href="http://khazarzar.skeptik.net/books/nhl.pdf">The Nag Hammadi Library</a> (a personal favorite of mine, which sits on my own shelf) in the early Top Shelf entry. But from then on, left to right, we have:<br />
<br />
<a href="http://obinfonet.ro/docs/relig/greek/greekmyths2.pdf">Classical Mythology by Mark P. O. Morford and Robert J. Lenardo (Seventh Edition)</a><br />
Peaches' edition of this classic text on the Classics is the ninth edition (there is <a href="http://global.oup.com/us/companion.websites/9780195397703/">a website companion to the ninth</a>), but I link here to a PDF of the seventh edition. The text contains a wide variety of faithfully translated passages from Greek and Latin sources, including Homer, Hesiod, all the Homeric Hymns, Pindar, Aeschylus, Sophocles, Euripides, Herodotus, Plato, Lucian, Lucretius, Vergil, Ovid, and Seneca. Acclaimed authors Mark P.O. Morford and Robert J. Lenardon incorporate a dynamic combination of poetic narratives and enlightening commentary to make the myths come alive for students. Offering historical and cultural background on the myths (including evidence from art and archaeology) they also provide ample interpretative material and examine the enduring survival of classical mythology and its influence in the fields of art, literature, music, dance, and film. <br />
<br />
<a href="http://www.templeofearth.com/books/goldenbough.pdf">The Golden Bough: A Study in Magic and Religion by Sir James Frazer</a><br />
I grew up with many of the books on Peaches' shelf (my father was a loose Crowleyian) and this was standard reading from the age of about 14 for me. The Golden Bough: A Study in Comparative Religion (retitled The Golden Bough: A Study in Magic and Religion in its second edition) is a wide-ranging, comparative study of mythology and religion, written by the Scottish anthropologist Sir James George Frazer (1854–1941). It was first published in two volumes in 1890; in three volumes in 1900; the third edition, published 1906–15, comprised twelve volumes. The work was aimed at a wide literate audience raised on tales as told in such publications as Thomas Bulfinch's The Age of Fable, or Stories of Gods and Heroes (1855).<br />
<br />
Frazer offered a modernist approach to discussing religion, treating it dispassionately as a cultural phenomenon rather than from a theological perspective. The influence of The Golden Bough on contemporary European literature and thought was substantial.<br />
<br />
<a href="http://www.golden-dawn-canada.com/pdf/Israel%20Regardie%20-%20The%20Complete%20Golden%20Dawn%20%28Black%20Brick%29.pdf">The Golden Dawn by Israel Regardie</a><br />
The Golden Dawn by Israel Regardie is considered by many to be the book that started the modern occult movement. The original Hermetic Order of the Golden Dawn, which started in the late 1800s, borrowed from a wide variety of occult traditions; Kabalah, Tarot, Geomancy, Enochian Magic, Theosophy, Freemasonry, Paganism, Astrology, and many more and created a unique and viable system of magic that is still being practiced today. Almost every contemporary occult writer and modern group has been influenced, directly or indirectly, by the Order or its members, making The Golden Dawn one of the most influential occult books of the past 100 years.<br />
<br />
The book is divided into several basic sections. First are the knowledge lectures, where you will learn the basics of the Kabalah, symbolism, meditation, geomancy and more. This is followed by the rituals of the Outer Order, consisting of five initiation rituals into the degrees of the Golden Dawn.<br />
<br />
The next section covers the rituals of the Inner Order including two initiation rituals, equinox ceremonies, and more. Then you will learn the basic rituals of magic and the construction, consecration, and means of using the magical tools. Once you have these you can go on to evocation rituals, talismans, and invocations. <br />
<br />
<b>An Unrecognizable Text</b><br />
<br />
<a href="https://archive.org/details/sacred-magic-abramelin">The Book of the Sacred Magic of Abramelin the Mage</a><br />
The Book of Abramelin tells the story of an Egyptian mage named Abramelin, or Abra-Melin, who taught a system of magic to Abraham of Worms, a German Jew presumed to have lived from c.1362–c.1458. The system of magic from this book regained popularity in the 19th and 20th centuries due to the efforts of Mathers' translation, The Book of the Sacred Magic of Abramelin the Mage, its import within the Hermetic Order of the Golden Dawn, and later within the mystical system of Thelema (created in 1904 by Aleister Crowley).<br />
<br />
Unfortunately, Mathers used the least-reliable manuscript copy as the basis for his translation, and it contains many errors and omissions. The later English translation by <a href="http://www.amazon.com/The-Book-Abramelin-New-Translation/dp/089254127X">Georg Dehn and Steven Guth</a>, based on the earliest and most complete sources, is more scholarly and comprehensive. Dehn attributed authorship of The Book of Abramelin to Rabbi Yaakov Moelin (Hebrew יעקב בן משה מולין; ca. 1365–1427), a German Jewish Talmudist. This identification has since been disputed.<br />
<br />
<a href="http://f3.tiera.ru/1/genesis/570-574/570000/193f006457e9902b4db0ba622dab0867">Judasim by Rabbi Dan Cohn-Sherbok</a><br />
This all-encompassing textbook is an unrivalled guide to the history, beliefs and practice of Judaism. Beginning with the ancient Near Eastern background, it covers early Israelite history, the emergence of classical rabbinic literature and the rise of medieval Judaism in Islamic and Christian lands. It also includes the early modern period and the development of Jewry in the nineteenth and twentieth centuries. Extracts from primary sources are used throughout to enliven the narrative and provide concrete examples of the rich variety of Jewish civilization.<br />
<br />
<a href="https://archive.org/details/cu31924028928236">Three Books of Occult Philosophy by Henry Cornelius Agrippa</a><br />
Three Books of Occult Philosophy (De Occulta Philosophia libri III) is Heinrich Cornelius Agrippa's (1486-1535) study of occult philosophy, acknowledged as a significant contribution to the Renaissance philosophical discussion concerning the powers of ritual magic and its relationship with religion.<br />
<br />
The three books deal with Elemental, Celestial and Intellectual magic. The books outline the four elements, astrology, kabbalah, numbers, angels, God's names, the virtues and relationships with each other as well as methods of utilizing these relationships and laws in medicine, scrying, alchemy, ceremonies, origins of what are from the Hebrew, Greek, and Chaldean context.<br />
<br />
These arguments were common amongst other hermetic philosophers at the time and before. In fact, Agrippa's interpretation of magic is similar to the authors Marsilio Ficino, Pico della Mirandola and Johann Reuchlin's synthesis of magic and religion and emphasize an exploration of nature. Unlike many grimoires of the time, before and past, these books are more scholarly and intellectual than mysterious and foreboding. These books are often read as authoritative by those interested in the occult even today.<br />
<br />
<a href="http://www.hermetics.org/pdf/magic/agrippa_fourth_book.pdf">The Fourth Book of Occult Philosophy by Henry Cornelius Agrippa</a><br />
The so-called Fourth Book appeared in Latin some thirty years after Agrippa's death. Johann Weyer, a student of Agrippa's, denounced this work to be spurious (cf. Praestigiis Daemonum, 1563) and that evaluation has rarely been questioned. An exception to this is Stephen Skinner in his 1978 introduction to the facsimile edition published by Askin Publishers.<br />
<br />
<a href="http://hermetic.com/93beast.fea.st/files/section1/ABA/Book%204%20Part%20III%20MiTaP.pdf">Magick in Theory in Practice by Aleister Crowley</a><br />
My former work has been misunderstood, and its scope limited, by my use of technical terms. It has attracted only too many dilettanti and eccentrics, weaklings seeking in "Magic" an escape from reality. I myself was first consciously drawn to the subject in this way. And it has repelled only too many scientific and practical minds, such as I most designed to influence. But MAGICK is for ALL. So I have written this book to help the Banker, the Pugilist, the Biologist, the Poet, the Navvy, the Grocer, the Factory Girl, the Mathematician, the Stenographer, the Golfer, the Wife, the Consul - and all the rest - to fulfil themselves perfectly, each in his or her own proper function. Let me explain in a few words how it came about that I blazoned the word MAGICK upon the Banner that I have borne before me all my life. (from book) <br />
<br />
<a href="http://www.mastermason.com/oyrb/Tanakh.pdf">Tanach</a><br />
The Tanakh (Hebrew: תַּנַ"ךְ, pronounced [taˈnaχ] or [təˈnax]; also Tenakh, Tenak, Tanach) is the canon of the Hebrew Bible. It is also known as the Masoretic Text or Miqra.<br />
<br />
Tanakh is an acronym of the first Hebrew letter of each of the Masoretic Text's three traditional subdivisions: Torah ("Teaching", also known as the Five Books of Moses), Nevi'im ("Prophets") and Ketuvim ("Writings")—hence TaNaKh. The name "Miqra" (מקרא), meaning "that which is read", is another Hebrew word for the Tanakh. The books of the Tanakh were passed on by each generation, and according to rabbinic tradition were accompanied by an oral tradition, called the Oral Torah.<br />
<br />
<br />James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-15468544515614220922014-04-09T23:58:00.000+02:002014-04-20T14:07:17.804+02:00Read the Books Peaches Geldof Read Part One<div class="separator" style="clear: both; text-align: center;">
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<br />
A part of the library of the late Peaches Geldof appeared on her Twitter feed a few weeks before her recent and tragic death (nobody should die at 25). What is interesting about the image of books upon the shelf of Peaches is the subject. Peaches was a Thelemite, a follower of the teachings of <a href="http://en.wikipedia.org/wiki/Aleister_Crowley">Edward Aleister Crowley</a>. In honor of the memory of Peaches and as an attempt to get people to read Crowley and the books associated with him I begin to post the books from the above image here as PDFs. This is shelf one in the Books of Peaches (shelf two is tomorrow):<br />
<br />
<a href="http://www.bartleby.com/107/">The Anatomy of the Human Body by Henry Grey (1918)</a><br />
The Bartleby.com edition of Gray’s Anatomy of the Human Body features 1,247 vibrant engravings—many in color—from the classic 1918 publication, as well as a subject index with 13,000 entries ranging from the Antrum of Highmore to the Zonule of Zinn.<br />
<br />
<a href="http://hermetic.com/crowley/equinox/">Gems from the Equinox: Instructions by Aleister Crowley for his Magical Order</a><br />
A resource list of The Equinox, the Review of Scientific Illuminism, the official organ of the Crowley’s A∴A∴ along with material of import to its sister organization, Ordo Templi Orientis.<br />
<br />
<a href="http://d23a3s5l1qjyz.cloudfront.net/wp-content/uploads/2012/09/King-James-Bible-KJV-Bible-PDF.pdf">The Holy Bible (King James Version)</a><br />
Virtue and Prudence, could not be brought for a long time to give way to good Letters and refined speech, but bare themselves as averse from them, as from rocks or boxes of poison; And fourthly, that he was no babe, but a great clerk [Gregory the Divine], that gave forth (and in writing to remain to posterity) in passion peradventure, but yet he gave forth, that he had not seen any profit to come by any Synod, or meeting of the Clergy, but rather the contrary; And lastly, against Church-maintenance and allowance, in such sort, as the Ambassadors and messengers of the great King of Kings should be<br />
furnished, it is not unknown what a fiction or fable.<br />
<br />
<a href="http://selfdefinition.org/magic/Eliphas%20Levi%20-%20Book%20of%20Splendours.pdf">The Book of Splendours: The Inner Mysteries of Qabalism by Eliphas Levi</a><br />
This is the first part of Eliphas Levi's last great descourse on the mysteries of occultism that was continued and concluded in The Great Secret. In it, Levi examines with great precision and insight the inner meanings of Qabalism and their relationship to the occult sciences. Part One is a commentary on the Spihra Dzeniuta by Simeon Ben-Jochal, which includes an examination of the affinities between Qabalism and Freemasonry. Part Two pursues the correspondences between Qabalism, Numerology and the Tarot. This edition includes an appendix by Papus (Dr. Gerard Encausse) summarizing Levi's doctrines and teachings and supplying some fascinating information on some of the master's many disciples.<br />
<br />
<a href="http://www.holybooks.com/transcendental-magic-its-doctrine-and-ritual-by-eliphas-levi/">Transcendental Magic Its Doctrine and Ritual by Eliphas Levi</a><br />
Transcendental Magic Its Doctrine and Ritual (Dogme et Rituel de la Haute Magie) By Eliphas Levi (Alphonse Louis Constant) Translated to English by A. E. Waite. Originally published by Rider & Company, England, 1896. Transcribed and converted to Adobe Acrobat format by Benjamin Rowe, January, 2002.<br />
<br />
This is Eliphas Levi's (1810-1875) best-known book. This work arguably made Levi the most influential writer on magic since the Renaissance. Originally issued in French, the English translator is A.E. Waite and it is doubtful that anyone else could have better captured the essence of Levi's work. The book is divided in two parts; the first is theoretical, the second practical. This is a fascinating and often debated work involving a discussion that covers almost the entire realm of Ritual and High Magic. <br />
<br />
<b>Unrecognizable Volume</b><br />
<br />
<a href="http://alleeshadowtradition.com/pdf/mystical_qabala.pdf">The Mystical Kabbalah</a><br />
The Kabbalah is divided into two kinds, the Practical and the Theoretical. The Practical is occupied with the construction of talismans and amulets and is of no interest to Freemasonry.<br />
<br />
Practical Kabbalah has its ancient roots in the "Thirteen Enochian Keys" of Enoch son of Qain, along with a highly eclectic admixture of material taken from Egyptian, Mesopotamian, and other non-Hebrew sources. The "Thirteen Enochian Keys" of Enoch son of Qain are reflected in such works as The Book of the Sacred Magic of Abramelin the Mage, the Greater and Lesser Keys of Solomon, and mediaeval grimoires such as the Armadel, Goetia/Lemegeton, etc. The primary text of the mystical Kabbalah that appears to occupy a central place of importance in the hermetic Kabbalah is the Sefer Yetzirah (Book of Formation). The two most prominent contemporary schools of Practical or Hermetic Kabbalah are the Golden Dawn and the Ordo Templi Orientis (O.T.O.). <br />
<br />
The bulk of the mainstream orthodox Jewish Kabbalists focus primarily on the Sefer HaZohar (Book of Splendor) and the Etz HaChayyim (Tree of Life). They engage in practices of spiritual refinement (avodah) and meditation (devekut, "cleaving to God") gleaned from the writings left by Abraham Abulafia, Azriel of Gerona (disciple of Yitza'aq the Blind), Chayyim Vital (recorder of the teachings of Yitza'aq Luria), Dov Baer (Mezhirecher Maggid and successor to Israel ben Eliezer), Nachman of Bretzlav, and others. These practices include a variety of visualization techniques, breathing exercises, movements coordinated with the permutation and combination of Hebrew letters, mantric intonation of sacred phrases, meditative prayer, and chanting devotional songs.<br />
<br />
<a href="http://hermetic.com/crowley/libers/lib333.html">The Book of Lies</a><br />
The Book of Lies (full title: Which is also Falsely Called BREAKS. The Wanderings or Falsifications of the One Thought of Frater Perdurabo, which Thought is itself Untrue. Liber CCCXXXIII [Book 333]) was written by English occultist and teacher Aleister Crowley (using the pen name of Frater Perdurabo) and first published in 1912 or 1913. As Crowley describes it: "This book deals with many matters on all planes of the very highest importance. It is an official publication for Babes of the Abyss, but is recommended even to beginners as highly suggestive."<br />
<br />
The book consists of 93 chapters, each of which consists of one page of text. The chapters include a question mark, poems, rituals, instructions, and obscure allusions and cryptograms. The subject of each chapter is generally determined by its number and its corresponding Qabalistic meaning. Around 1921, Crowley wrote a short commentary about each chapter, assisting the reader in the Qabalistic interpretation.<br />
<br />
Several chapters and a photograph in the book reference <a href="http://en.wikipedia.org/wiki/Leila_Waddell">Leila Waddell</a>, who Crowley called Laylah, and who, as Crowley's influential Scarlet Woman, acted as his muse during the writing process of this volume. <br />
<br />
<a href="http://thebibleisnotholy.files.wordpress.com/2010/06/origins-of-kabbalah.pdf">Origins of the Kabbalah by Allan Arkush & Gershom G. Scholem</a><br />
One of the most important scholars of our century, Gershom Scholem (1897-1982) opened up a once esoteric world of Jewish mysticism, the Kabbalah, to concerned students of religion. The Kabbalah is a rich tradition of repeated attempts to achieve and portray direct experiences of God: its twelfth-and thirteenth-century beginnings in southern France and Spain are probed in Origins of the Kabbalah, a work crucial in Scholem's oeuvre. The book is a contribution not only to the history of Jewish medieval mysticism but also to the study of medieval mysticism in general and will be of interest to historians and psychologists, as well as to students of the history of religion.<br />
<br />
<a href="http://miltondodd.files.wordpress.com/2011/08/aleister-crowley-diary-of-a-drug-fiend-19222.pdf">The Diary of a Drug Fiend by Aleister Crowley</a><br />
Diary of a Drug Fiend, published in 1922, was occult writer and mystic Aleister Crowley's first published novel, and is also reportedly the earliest known reference to the Abbey of Thelema in Sicily.<br />
<br />
The story is widely thought to be based upon Crowley's own drug experiences, despite being written as a fiction. This seems almost conclusively confirmed by Crowley's statement in the novel's preface: "This is a true story. It has been rewritten only so far as was necessary to conceal personalities." Crowley's own recreational drug use and also his personal struggle with drug addiction, particularly heroin, is well documented.<br />
<br />
Crowley made a study of drugs and their effects upon the body and mind, experimenting widely himself. Many of his conclusions are present within this novel. The story follows Peter Pendragon and Louise Laleham, a couple passionately in love, as they fall head-first into a drug binge across Europe. Diary of a Drug Fiend encapsulates much of Crowley's core philosophy concerning Thelema and his conception of True Will.<br />
<br />
<a href="http://www.mediafire.com/download/75zd54bnidk6d3i/Introduction+to+Liber+Legis+-+Israel+Regardie.pdf">The Law is for All by Israel Regardie</a><br />
Aleister Crowley's life and thought are inexorably linked with The Book of the Law (Liber AL vel Legis, sub figura CCXX). He was not the author of this short, prophetic text. He received this visionary work by direct-voice dictation from a preterhuman, possibly discarnate intelligence in Cairo in 1904.<br />
<br />
<a href="http://www.koyotetheblind.com/library/Libers/liber777%20%28revised%29.pdf">The Book of The Law<b> </b></a><br />
<br />
Crowley was an intelligent sceptic, and at first found this improbable means of communication as difficult to accept as most intelligent readers will today. Yet he could not ignore it or its message, and eventually concluded that it stood as conclusive proof of the underlying assumption of all religion - that intelligences superior to mankind not only exist, but take an active role in our welfare. He found that The Book of the Law holds the keys to the Next Step in human evolution, and sets forth the spiritual principles of a New Aeon.<br />
<br />
He worked for decades to interpret its meaning for initiates and the general public, but rejected commentary after commentary as inadequate. He eventually concluded that he was too close to his subject to judge the value of his own commentaries, and entrusted the task to his best friend, Louis Wilkinson. Wilkinson (who wrote under the pen-name Louis Marlow) possessed impressive literary qualifications and had the advantages of knowing Crowley well and being a layman in esoteric matters. The result of his work is this long-awaited authorized popular edition of Crowley's new commentary on The Book of the Law, and its first appearance as Crowley wished it. Louis Wilkinson's editorial work was posthumously completed and augmented by Frater Superior Hymenaeus Beta of the O.T.O. This new edition features annotations, reading lists and indexes, as well as an insightful introduction by Louis Wilkinson.<br />
<br />
<a href="http://www.koyotetheblind.com/library/Libers/liber777%20%28revised%29.pdf">777 and other Qabalistic writings of Aleister Crowley</a><br />
777 and Other Qabalistic Writings of Aleister Crowley is a collection of papers written by Aleister Crowley. It was edited and introduced by Dr. Israel Regardie, and is a reference book based on the Hermetic Qabalah.<br />
<br />
<a href="https://www.dmt-nexus.me/Files/Books/General/Aleister%20Crowley%20-%20The%20book%20of%20Thoth.pdf">The Book of Thoth : A Short Essay on the Tarot of the Egyptians</a><br />
The Equinox, volume III, number 5, by Aleister Crowley. The book is recorded in the vernal equinox of 1944 (an Ixviii Sol in 0° 0' 0" Aries, March 21, 1944 e. v. 5:29 p.m.) and was originally published in an edition limited to 200 numbered and signed copies.<br />
<br />
This book describes the philosophy and the use of Aleister Crowley's Thoth Tarot, a deck of Tarot cards designed by Crowley and co-designed and painted by Lady Frieda Harris. The Thoth Tarot has become one of the best-selling and most popular Tarot Decks in the world.<br />
<br />
The original 200-volume signed limited edition was bound in Morocco leather and printed on pre-wartime paper. Crowley sold ₤1,500 worth of the edition (equal to £57,540 in 2013) in less than three months.<br />
<br />
<a href="http://hermetic.com/crowley/libers/class-a/">The Holy Books of Thelema: The Technical Writings of Aleister Crowley</a><br />
Aleister Crowley, the founder of Thelema, designated his works as belonging to one of several classes. Not all of his work was placed in a class by him.<br />
<br />
Class A consists of works that are not to be changed, even to the letter (The Holy Books)<br />
Class B consists of works of scholarship and enlightenment.<br />
Class C consists of material that suggests things other than the obvious.<br />
Class D consists of official rituals and instructions.<br />
Class E consists of manifestos, broadsides, epistles and other public statements. <br />
<br />
<a href="https://www.createspace.com/4228133">Living Thelema: A Practical Guide to Attainment in Aleister Crowley’s System of Magick</a> by Dr. David Shoemaker<br />
(A new book, could not find a PDF of it)<br />
In this important new book, renowned Thelemic teacher Dr. David Shoemaker sheds light on the dense and often misunderstood world of Aleister Crowley's teachings. Beginners and advanced practitioners alike will find much useful advice here, as Shoemaker brings his characteristic down-to-earth style to bear on topics such as ritual and meditation practices, sex magick, astral projection, psychotherapy for magicians, the Knowledge and Conversation of the Holy Guardian Angel, and that pinnacle of attainment known as the crossing of the Abyss. A popular lecturer and podcaster, Shoemaker has been a student and teacher of Aleister Crowley's system of magick and mysticism for decades. Living Thelema is designed to be a helpful resource for aspirants at any stage of the Thelemic path, drawing on Shoemaker's many years of supervising students in A.'.A.'., Crowley's magical order, as well as other related systems. This book presents a truly unique, 21st century synthesis of magick and depth psychology, and will serve as a useful reference at every stage of the aspirants path of attainment.<br />
<br />
<a href="http://cdn.preterhuman.net/texts/religion.occult.new_age/Magick/Bucklands%20Complete%20Book%20of%20Witchcraft.pdf">Bucklands Complete Book of Witchcraft</a><br />
Buckland's Complete Book of Witchcraft has influenced and guided countless students, coven initiates, and solitaries around the world. One of modern Wicca's most recommended books, this comprehensive text features a step-by-step course in Witchcraft, with photographs and illustrations, rituals, beliefs, history, and lore, as well as instruction in spellwork, divination, herbalism, healing, channeling, dreamwork, sabbats, esbats, covens, and solitary practice. The workbook format includes exam questions at the end of each lesson, so you can build a permanent record of your spiritual and magical training. This complete self-study course in modern Wicca is a treasured classic—an essential and trusted guide that belongs in every Witch's library. <br />
<br />
<a href="http://www.labirintoermetico.com/09IChing/Wilhelm_R_The_I_Ching_or_Book_of_Changes_%28abriged%29.pdf">The I Ching of Book of Changes</a><br />
The I Ching, also known as the Classic of Changes, Book of Changes, Zhouyi and Yijing, is one of the oldest of the Chinese classic texts. The book contains a divination system comparable to Western geomancy or the West African Ifá system; in Western cultures and modern East Asia, it is still widely used for this purpose.<br />
<br />
Traditionally, the I Ching and its hexagrams were thought to pre-date recorded history, and based on traditional Chinese accounts, its origins trace back to the 3rd and 2nd millennia BCE. Modern scholarship suggests that the earliest layers of the text may date from the end of the 2nd millennium BCE, but place doubts on the mythological aspects in the traditional accounts. Some consider the I Ching the oldest extant book of divination, dating from 1,000 BCE and before. The oldest manuscript that has been found, albeit incomplete, dates back to the Warring States period (475–221 BCE).<br />
<br />
During the Warring States Period, the text was re-interpreted as a system of cosmology and philosophy that subsequently became intrinsic to Chinese culture. It centered on the ideas of the dynamic balance of opposites, the evolution of events as a process, and acceptance of the inevitability of change.<br />
<br />
The standard text originated from the Old Text version (古文經) transmitted by Fei Zhi (费直, c. 50 BCE-10 CE) of the Han Dynasty, which survived Qin’s book-burning. During the Han Dynasty this version competed with the bowdlerised new text (今文經) version transmitted by Tian He at the beginning of the Western Han. However, by the time of the Tang Dynasty the Old Text version became accepted as standard. <br />
<br />
<a href="http://khazarzar.skeptik.net/books/nhl.pdf">The Hag Hammadi Library: The Definitive Translation of the Gnostic Scriptures in One Volume</a><br />
The Nag Hammadi Library is a collection of Gnostic texts discovered near the Upper Egyptian town of Nag Hammadi in 1945. Twelve leather-bound papyrus codices buried in a sealed jar were found by a local farmer named Mohammed al-Samman. The writings in these codices comprised fifty-two mostly Gnostic treatises, but they also include three works belonging to the Corpus Hermeticum and a partial translation/alteration of Plato's Republic. In his "Introduction" to The Nag Hammadi Library in English, James Robinson suggests that these codices may have belonged to a nearby Pachomian monastery, and were buried after Bishop Athanasius condemned the use of non-canonical books in his Festal Letter of 367 AD.<br />
<br />
The contents of the codices were written in the Coptic language, though the works were probably all translations from Greek. The best-known of these works is probably the Gospel of Thomas, of which the Nag Hammadi codices contain the only complete text. After the discovery, scholars recognized that fragments of these sayings attributed to Jesus appeared in manuscripts discovered at Oxyrhynchus in 1898 (P. Oxy. 1), and matching quotations were recognized in other early Christian sources. Subsequently, a 1st or 2nd century date of composition circa 80 AD has been proposed for the lost Greek originals of the Gospel of Thomas. The buried manuscripts date from the third and fourth centuries.<br />
<br />
<a href="http://www.soulsphincter.com/2014/04/read-books-of-peaches-geldof-part-two.html">Read The Books of Peaches Part Two</a>.<br />
<span style="font-family: Verdana, Arial, Helvetica, Sans; font-size: x-small;"></span><br />James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-2779413587899389932014-04-04T19:46:00.001+02:002014-04-17T23:10:50.044+02:00The First International Festival of Technoshamanism <br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8ZKcfftq_m0nROGusv6W6NERC8WJyKs1autsEnJ5eyn5YwTXq_urHxNOMZZSvo35jJjELBATc78dK370bk-EHd-lV80HOWG3ZIk9PVW1OEmpu8o6VXJEUOrnBNuIT6Lxl98Xp7w/s3200/danceTEMPLE_7351.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8ZKcfftq_m0nROGusv6W6NERC8WJyKs1autsEnJ5eyn5YwTXq_urHxNOMZZSvo35jJjELBATc78dK370bk-EHd-lV80HOWG3ZIk9PVW1OEmpu8o6VXJEUOrnBNuIT6Lxl98Xp7w/s3200/danceTEMPLE_7351.jpg" /></a></span></div>
<br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><a href="http://www.theinternetofthings.eu/first-international-festival-technoshamanism">The First International Festival of Technoshamanism</a> will
take place in Arraial d’Ajuda , Brazil on 23 and 30 April 2014, in the
ITAPECO – Institute for Alternative Technology, Permaculture and
gardening , along with groups from the Aldeia Velha of pataxós
relatives, who will also be bringing their experiences and knowledge to
the meeting.</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"> <iframe allowfullscreen="" height="481" mozallowfullscreen="" src="//player.vimeo.com/video/87391333" webkitallowfullscreen="" width="700"></iframe> </span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">The kickstarter site for the festival is here: <a href="http://catarse.me/en/tecnoxamanismo">http://catarse.me/en/tecnoxamanismo</a></span></span>
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br />
This project arises from a cyber network of Terrans metarecicleiros,
submidiáticos , art collectives , ruidocráticos , mechatronics ,
performers , tactical media , permaculture , and groups involved with
technology and ecology, which are engaged in the Struggle for the Earth.</span></span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"></span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br />
Shamanism asserts its presence as a reference to the peoples of earth
and forest , the ancestral knowledge , the link between their ecological
and magical technologies .</span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br />
It asserts its presence as a challenge :</span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"></span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br /></span></span>
<br />
<blockquote class="tr_bq">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">
How can we access a different relationship with life outside the field
of technological development that is predicated on great devastation and
destruction ? How can we propose new forms of technological production
that are associated with Health Earth ? How can we expand our
rationalistic and exploitative view to a more cosmic, ecological vision ?
That other lives are possible beyond consumption and indiscriminate use
of resources ? There’s magic in technology ? How can we can use
technology to enhance our vision, listening, and experience and
transform our communication with biodiversity ?</span></span>
</blockquote>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br />
With discussions , stories , artwork , electronics, sound experiments ,
methods of communication with other life forms beyond the human ,
performances , workshops , permaculture , among others , the
participants of the First International Festival of Technoshamanism want
to be able to meet to deepen their ideas , propose new readings of the
current ecological scene and present some possibilities for the future.
It is a futuristic and eco event, that loves technology while at the
same time ancenstoral knowledge, and wants to find new possibilities for
life.</span></span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"></span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br />
Following the camping, hack lab, free radio, TAZ, tent of cure, debates,
workshops and party style, we will be among the ITAPECO permaculture
institute and the Cultural house of Aldeia Velha of the Pataxó
indigenous people.</span></span>
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br />
An article explaining technoshamanism by the Brazilian writer and
scholar Fabiane Borges, originally written as a presentation for
Transmediale 2014 is available as a PDF with notes, images, references
etc. here </span></span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span></span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><a href="http://www.modspil.dk/docs/technoshamanism_fabi_borges.pdf"><span style="font-family: Arial,Helvetica,sans-serif;">http://www.modspil.dk/docs/technoshamanism_fabi_borges.pdf</span></a> </span></span>James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com2tag:blogger.com,1999:blog-5119236.post-59521607955221486212014-04-03T17:03:00.002+02:002014-04-03T17:03:38.753+02:00"The Augmented Plateau: Art and Virtual Worlds in HUMlab 2007-2013"<br />
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<span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOSnIc-39l8fhOASx98sY6yjhGyW6YUpJ3C4SkZUwCxJ_qEp0DTPUzidEbvbFpF-QxVN2wCpeG9VFFZ7ejkLdrdyCbeXceqytp-InDpzuKBzPc0rbCVNrcGNe_xBMcW6y07rz9rg/s3200/POSTERF.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOSnIc-39l8fhOASx98sY6yjhGyW6YUpJ3C4SkZUwCxJ_qEp0DTPUzidEbvbFpF-QxVN2wCpeG9VFFZ7ejkLdrdyCbeXceqytp-InDpzuKBzPc0rbCVNrcGNe_xBMcW6y07rz9rg/s3200/POSTERF.jpg" height="360" width="640" /></a></span></div>
<br />
<br />
<br />
<br />
<br />
<span style="font-size: x-small;">10 April - 30 April 2014 @ HUMlab-X, the Arts Campus at Umeå University, Sweden<br />
<br />
Opening Hours: Monday - Friday, Noon - 4pm, closed on weekends (17, 18 and 21 April Closed)<br />
<br />
Opening: 10 April, between 4pm - 6pm<br />
<br />
PARTICIPANTS (in alphabetical order):<br />
Alpha Auer, Avatar Orchestra Metaverse, Fau Ferdinand, Garrett Lynch,
Katerina Karoussos, Pyewacket Kazyanenko, SaveMe Oh, Selavy Oh, Oberon
Onmura, Maya Paris, Kristine Schomaker, Goodwind Seiling, Alan Sondheim,
Eupalinos Ugajin, and Juria Yoshikawa<br />
<br />
With Loving Support of:<br />
Marx Catteneo, Jo Ellsmere, Mab MacMoragh, Steve Millar, and Evo Szuyuan.<br />
<br />
HUMlab is a humanities-led, interdisciplinary digital lab at Umeå
University in Sweden. For the last seven years, HUMlab has given support
to Second Life (SL) artists by hosting their works on SL HUMlab Island
for constructions as well as organising exhibitions at HUMlab's
Real-Life multimedia venue.<br />
<br />
In 2007-08 Humlab hosted on its Second Life sim Goodwind Seiling's
"N00sphere Playground" for the Virtual Moves exhibition at the National
Gallery in Copenhagen. Later, it further supported Avatar Orchestra
Metaverse for their constructions and premier performances of
"XAANADRuul" and "The Heart of Tones" before providing a home for the
Yoshikaze "Up-In-The-Air" virtual artist residency programme in 2010.
Since then, HUMlab has been a host for nine Second Life artists in
Yoshikaze artist residency as well as one artist talk by Kristine
Schomaker on her project "My Life as an Avatar." The work conducted in
HUMlab and Yoshikaze by virtual world artists and creators has led to a
number of academic publications and conference presentations and also
resulted in two self-published artist books. Another outcome of HUMlab's
engagement for the advancement of virtual worlds and art was their
assistance in bringing an ambitious mixed-reality project by Goodwind
Seiling to fruition. The project "Experimentation #1" was based on the
use of Kinect to control avatar movements and would have been unable to
be realised without HUMlab's support.<br />
<br />
This year between 10 April and 30 April, HUMlab and Yoshikaze proudly
present a group exhibition with all the artists who have been involved
in shaping HUMlab's engagement in supporting SL artists and their art.
This include, besides those mentioned above, Alan Sondheim, Juria
Yoshikawa, Garrett Lynch, Selavy Oh, Katerina Karoussos, Fau Ferdinand,
Pyewacket Kazyanenko, Oberon Onmura, Alpha Auer, Maya Paris, Eupalinos
Ugajin and SaveMe Oh. We would also like to acknowledge the following SL
artists for this show: Machinimatographers Marx Catteneo, Mab
MacMoragh, Steve Millar, and Evo Szuyuan, as well as Puppeteer Jo
Ellsmere. The exhibition takes place at the newly acquired HUMlab-X at
the Art Campus of Umeå University.<br />
</span>James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-64012645331383193612014-03-29T17:27:00.003+01:002014-04-10T06:50:16.981+02:00The Grand Budapest Hotel: Triumph of the Dandy<div class="separator" style="clear: both; text-align: center;">
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"Harking back to a time when people really believed that splendour and
refinement were states of the soul, not mere acts of display" - <a href="http://www.thespec.com/whatson-story/4435487-grand-budapest-hotel-is-more-than-fiennes-it-s-wonderful/">Mick LaSalle, The Spectator</a></div>
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<br />
The Grand Budapest Hotel is a film that presents a dandy in immaculate proportions. The cologne aficionado extraordinaire and lover of mature women Monsieur Gustave H. is played by Ralph Fiennes. Gustav H. is a study in Libertine Dandyism. Exactly how it is so I would like to explain here.<br />
<br />
Firstly, the film The Grand Budapest Hotel is a work of fantasy and escapism, but it has two clear underlying concepts that are steel-hard in a fluffy glove of old-world class, etiquette and delicate pastries. Firstly is the idea of tolerance. The film is laced with tension points that seem to show the cruel injustice of intolerance. Violence is never far behind when someone judges someone else as being 'wrong' in The Grand Budapest Hotel. Secondly, the film features a Europe that is imagined by people who do not live here (i.e. Americans). In the film Europe is a place where disfigured but beautiful young women make pastries by hand in ancient buildings, it is snowing all the time, fluctuating war is constant between almost indistinguishable ideologies (all based on cruelty), the aristocracy are remote, aloof and dazzling and eccentricity is widespread. Its a bit like if <span class="st"><a href="http://en.wikipedia.org/wiki/Baron_M%C3%BCnchhausen">Baron von Münchhausen</a> took over Disneyland during a particularly long and bitter winter in the Bavarian Alps and made it an adults only theme park. This is the cynical version of what is a charming and due to the underlying message of tolerance, brilliant film. But I am most interested in the return in these barren times of the dandy.</span><br />
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<span class="st">M. Gustav H is the concierge of the Grand Budapest Hotel and his word is law in the establishment. </span><br />
<br />
<span class="st">Concierge: 1640s, from French <span class="foreign">concierge</span> "caretaker, doorkeeper, porter" (12c.), probably from Vulgar Latin <span class="foreign">*conservius</span>, from Latin <span class="foreign">conservus</span> "fellow slave," from <span class="foreign">com-</span> "with" (see <a class="crossreference" href="http://www.etymonline.com/index.php?term=com-&allowed_in_frame=0">com-</a>) + <span class="foreign">servius</span> "slave" (see <a class="crossreference" href="http://www.etymonline.com/index.php?term=serve&allowed_in_frame=0">serve</a> (v.)). </span><br />
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<span class="st">M. Gustav H likes the ladies, old/er rich blonde ladies. Gustav H also enjoys tailored clothes, perfumes, food, drink and the society of his peers. He lives alone in modest circumstances within the hotel, eating his meals (often simple affairs of bread and soup, alone. But society is important for Gustav H. Apart from his women, workers and friends he belongs to a secret society, The Society of Crossed Keys, a network across Europe made up of the concierges of the best hotels. The members of The Society of Crossed Keys assist each other regarding their concierge work and get help regarding any difficulties they may find themselves in. Gustav H. is loyal to his values and colleagues (preserving an order of class and occupation). He twice risks his life for "my lobby boy" who is an immigrant is menaced by fascist thugs. </span><span class="st">Gustav H. also states he "goes to bed with all my friends" and is of
the view that "there still are faint glimmers of civilization left in
this barbaric slaughterhouse that was once known as humanity." This civilization is the code of the Dandy.</span><br />
<span class="st"></span><br />
<blockquote class="tr_bq">
A gentleman is cultured to the point of refinement, but a dandy is
cultured to the point of decadence. To alleviate his boredom, he will
often grow overstated, perverse, toying with vulgarity. The dandy is responsible
to no one other than himself. Being
consistently well-mannered is far too bourgeois for the dandy: he holds
to the more aristocratic character, in that he often feels himself
above such workaday concerns as manners and accountability. In order to
avoid being thought banal or trite, he becomes impossible to predict:
tender and kind one moment, cold and cruel the next. He has transcended
any dowdy middle-class notions of what 'refinement' is. There are good
reasons why the dandy was reviled: he was a self-absorbed, egotistical,
useless prick. Nineteenth century books are rife with this dandy vs.
gentleman distinction, even having adjoining pictures of each species
for clarification. (<a href="http://lord-whimsy.livejournal.com/317496.html">The Dandy as Libertine</a>)</blockquote>
The inspiration for The Grand Budapest Hotel is the work and reputation of <a href="http://en.wikipedia.org/wiki/Stefan_Zweig">Stefan Zweig (1881-1942)</a>, an Austrian novelist, playwright, journalist, letter writer, biographer, socialite, commentator and essayist. George Prochnik, the author of the forthcoming book, <a href="http://www.otherpress.com/books/impossible-exile/">“The Impossible Exile: Stefan Zweig at the End of the World”</a> reports that early on, when the writer resided in his first bachelor-pad in Vienna, he enjoyed entertaining guests. Zweig served them “liquors sprinkled with gold leaf in rooms that were buried in books and painted a deep red that one friend described as the color of the blood of 4,000 beheaded Saxons. Rich, handsome, a dreamy sensualist who chain-smoked Virginia cigars and once had an essay he penned about Handel printed entirely on silk, Stefan Zweig was the quintessential dandy cosmopolite.” (<a href="http://www.examiner.com/article/the-grand-budapest-hotel-offers-a-wild-unforgettable-stay">From Greg Archer</a>)<br />
<br />
<span class="st">The Grand Budapest Hotel’s production notes contain an essay, entitled “The Cosmopolitan Apocalypse of Stefan Zweig,” by George Prochnik, which may help explain—more than the film itself—why Anderson is attracted to Zweig. It argues: “Today, when governmental surveillance and the official documentation of every aspect of existence are once again multiplying so aggressively that many people feel their core individuality to be threatened, Stefan Zweig’s impassioned pursuit of personal freedom seems more relevant than ever. His anguished existence of exile has lessons for us all about the values of civilization that we should be fighting to save in our own time” (From </span><a href="http://www.wsws.org/en/articles/2014/03/25/buda-m25.html">Joanne Laurier</a>).<br />
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These values are emphasized and exemplified in the dandy. The dandy personified in contemporary times is Sebastian Horsley, recently deceased. Ladies and gentleman, I give you Horsley;<br />
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<a href="http://vimeo.com/8255778">Sebastian Horsley - Dandy in the Underworld</a>.</div>
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James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-70620622263197755492014-03-09T12:34:00.002+01:002014-03-09T15:27:15.819+01:00Close Reading Space in Interactive Digital Literature (Thesis Extract Chapter One - Methods and Background)<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small; line-height: 150%;"><a href="http://en.wikipedia.org/wiki/Close_reading">Close reading</a> cannot be applied equally to all media </span><span lang="EN-US" style="font-size: small; line-height: 150%;"><span lang="EN-US" style="line-height: 150%;">as a single method of analysis</span>. For example, the difference between close reading a novel and a digital work can be grounded in
the roles of space and interaction and how both contribute
to narrative</span><span lang="EN-US" style="font-size: small; line-height: 150%;">. David Ciccoricco examines this compatibility between close reading
and the interactive potentials of digital literature, concluding “we are left with an inherent
contradiction for close reading digital literature: one simply cannot close
read digital text in the New Critical sense, for reading a text as a text does
not work when you can no longer take the "text" to be an idealized
abstract site of formal interplay” (Ciccoricco 2012 np). However, Ciccoricco
does go on to answer this challenge by referencing I. A. Richards’ famous
statement, “a book is a machine to think with” (Richards 1). By developing a close reading that includes the material Ciccoricco proposes a re-evaluation
of it as a method of analysis that is related to the re-creation that takes place in all reading. This close reading of digital literature includes a
focus on the meaning-making machine that is the material work. It is the contention of the following study that the material
specifics of the digital work as a text are dominated by the spatial in a
system that is both interpreted and interacted with, for the purposes of narrative
formulation.</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small; line-height: 150%;">Close
reading can explain the interpretive possibilities as well as the changes
brought about by reader interaction with the spatial and multimodal
dimensions of digital works of literature. In order to analyze such interaction and interpretation,
my close reading follows Jan Van Looy and Jan Baetens’ method whereby</span></span><br />
<div class="MsoNormal" style="line-height: 150%; margin-top: 0cm;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoNormal" style="margin: 0cm 28.05pt 0cm 1cm;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small;">Reading is always an
act of dismembering, or tearing open in search of hidden meanings. ‘Close’ as
in ‘close reading’ has come to mean ‘in an attentive manner’, but in the
expression ‘to pay close attention’, for example, we still have some nearness
[…] when it comes to close reading the text is never trusted at face value, but
it is torn to pieces and reconstituted by a reader who is always at the same
time a demolisher and a constructor (9-10). </span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-top: 0cm;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-top: 0cm;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small; line-height: 150%;">Van Looy
and Baetens’ material metaphor of dismemberment combines design and address in
the creation of narrative. “The text is never trusted at face value” and reading follows a process of interpretive interaction (“pay close attention”)
and physical process (“torn to pieces”). Opening the digital text and its
interpretation include a presence for the reader within its spatial structures,
searching for an epiphany in its “hidden meanings”. In opening up these works as spaces,
and studying closely how they can be navigated and re-arranged, it is the
material components that guide interpretation. The material elements combine in the
design of space in perspective and the emphases of the monumental. This process
is a combination of “a pre-digital historical conception of close reading and
the sort of materially-conscious hermeneutics that digital textuality requires”
(Ciccoricco 2012 np). I demonstrate the combination of traditional close
reading with an interpretive awareness of the material in my attention to the
spatial possibilities of the digital works.</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small; line-height: 150%;">My close reading combines the
material components of the digital texts in its focus on the spatial. David
Ciccoricco describes such a reading as the “close analysis of the individual
components that comprise its topology” (Ciccoricco 2012 np). Ciccoricco argues
“scholars of digital textuality are determined to move away from the dominant
paradigm of a textual topography, and instead speak more accurately of textual
topology” (2012 np). This contrast
between topography and topology is important for understanding how I apply
close reading to the spatial dimensions of the digital works. Topography </span><span lang="EN-US" style="font-size: small; line-height: 150%;">"originally
meant the creation of a metaphorical equivalent in
words of a landscape. Then, by another transfer, it came to mean
representation
of a landscape according to the conventional signs of some system of
mapping.
Finally, by a third transfer, the names of the map were carried over to
name
what is mapped" (Hillis Miller 3-4). Thus topography represents space,
but
is not spatial of itself, with the three examples cited by Hillis Miller
(i.e. metaphorical equivalent,
representation and the name of what is mapped) being instances of
symbols standing-in
for a physical entity. Thus topography is not interactive in the sense
space is in
the digital works, where the search for Van Looy and Baeten's "hidden
meanings" demands a level of interaction that does not operate just on
the level of the symbolic. Rather, it is necessary to combine
interaction and interpretation in a
close reading of the digital texts on the level of topology.</span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small; line-height: 150%;">The linearity of topography can be contrasted with textual topology, or “</span><span class="st" style="font-size: small;"><span lang="EN-US" style="line-height: 150%;">the material form of network narrative”
(Ciccoricco 2007 57), </span></span><span lang="EN-US" style="font-size: small; line-height: 150%;">as my focus of close
reading the digital interactive works</span><span class="st" style="font-size: small;"><span lang="EN-US" style="line-height: 150%;">. Hanjo Bresseme qualifies this network as
how “structure, texts, images and sounds can be mapped onto and inserted into
each other […]. The various media are no longer framed <i>in</i> and thus framed <i>off</i>
from each other” (34). The
interdependent framing results in an interactive space</span></span></span></div>
<div class="Normalindrag" style="line-height: 150%;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div class="Normalindrag" style="line-height: normal; margin: 0cm 42.2pt 0cm 35.45pt; text-indent: 0cm;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span class="st" style="font-size: small;"><span lang="EN-US">The hypermedia
topology is characterized by a conflation of and oscillation between surface
and depth, because although the textual traces always appear superficially on the
user’s screen […], hypermedial space consists of a multiplicity of levels and
layers that are successively folded onto this surface that is, furthermore,
used for both reading and writing purposes that thus conflates not only the
surface and depths but also the active and the passive onto one spatial plane
(Bresseme 34-35).</span></span></span></div>
<div class="Normalindrag" style="line-height: 150%; text-indent: 0cm;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<div class="Normalindrag" style="line-height: 150%; text-indent: 0cm;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small; line-height: 150%;">It is precisely the movement between surface and depth that is realized
in reading perspective, focus and the monumental in the digital works of my study. I
contend that like all forms of space, the hypermedial is profoundly material in
its “</span><span class="st" style="font-size: small;"><span lang="EN-US" style="line-height: 150%;">multiplicity
of levels and layers that are successively folded” (35).</span></span><span style="font-size: small;"><span style="font-size: xx-small;"><a href="https://www.blogger.com/blogger.g?blogID=23765172#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-US">[1]</span></span></span></span></a></span><span class="st"><span lang="EN-US" style="line-height: 150%;"> I combine the
interpretive materiality of surface and depth, levels and layers with the
dismemberment of Van Looy and Baetens to create an interactive form of close
reading that interprets spatial dynamics in design and address.</span></span></span></span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small; line-height: 150%;">By combining topology with the dismembering of the text I devise
a close reading that includes the written word and image as well as the spatial
dynamics of the navigable, interactive and ergodic in the digital texts. In this way my </span><span lang="EN-US" style="font-size: small; line-height: 150%;">close
reading follows the idea
that any analysis of interactive narrative works “must consider the
formal, material, and discursive elements of each
work as at once distinct and inseparable, each integrated toward the
production
of meaning” (Ciccoricco 2012 np). The formal is present in the prefaces
to the digital
texts as prescriptive guides and authorial instructions for reading. The
material is made a part of the interpretation of the text in its
design. The discursive operates in addressivity and indicates the
limited range
of responses that can be made to them by the reader. The spatial
provides a frame
for the integration of these “formal, material, and discursive elements
of
each work”, and this is what my close reading takes up. </span><span lang="EN-US" style="font-size: small; line-height: 150%;">I argue throughout my study that the spatial represents a juncture between the materiality and
the interpretive possibilities of the digital works. </span><span lang="EN-US" style="font-size: small; line-height: 150%;">The point of Ciccoricco’s argument, that
"digital media do not dispossess us of an interpretive reading
practice" (np), strengthens my approach that finds the spatial as
interactive and dominant in the formation of narrative.</span> </span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">In my close reading of the digital works I analyze formal, material and
selected discursive elements according to how they are produced by the spatial.
Both material and addressive criteria are parts of close reading in the
“consideration of the formal, material, and discursive elements of each work as
at once distinct and inseparable, each integrated toward the production of
meaning” (Ciccoricco 2012 np). The monumental, place, addressivity and
perspective are ‘the individual components that comprise its topology’ in my close
reading of the spatial. My focus on these elements aligns with Ciccoricco argument
that, “it is also necessary to extend discourse of 'spatiality' as it pertains
to reading and rereading. It is necessary, that is, to move over and away from
the ‘Line’ and into the space of the network ” (Ciccoricco 2007 44). It is
precisely this movement from the line of conventional narrative discourse, into
the governance by the spatial of interaction with the digital works that is the
subject of the following close readings. The shift in analysis from “the
‘Line’” to networked and interactive elements is accomplished through my
adaption of the spatial theories of Henri Lefebvre. Space in the digital works
is coded according to Lefebvre's concepts of representation of space and
representational space.</span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=23765172#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="font-family: Cambria; font-size: 8.0pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: Cambria; font-size: 8.0pt; mso-ansi-language: SV; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></span></a><span style="font-family: Cambria; font-size: 8.0pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span><span lang="EN-US" style="font-family: Cambria; font-size: 8.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Bresseme references the “immateriality of
the texts” (35), but this seems to contradict the concept of hypermedial space
characterized by surface, depth, levels and layers.</span><br />
<br />
<br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US"><b>Works Cited</b></span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US">Bresseme, Hanjo. 'One Surface Fits All: Texts, Images and the Topology of Hypermedia”. Text and Visuality: Word & Image Interactions 3. Martin Heusser, Martin Heusser, Michèle Hannoosh, Leo Hoek, Charlotte Schoell-Glass & David Scott (Eds.). Amsterdam: Editions Rodopi, 1999. 33-43. Print. <br /><br />Ciccoricco, David. “The Materialities of Close Reading: 1942, 1956, 2009”. Digital Humanities Quarterly, 2012 Volume 6 Number 1. 16 August 2012. Web. 25 August 2012 <a href="http://digitalhumanities.org/dhq/vol/6/1/000113/000113.html">http://digitalhumanities.org/dhq/vol/6/1/000113/000113.html</a> <br /> </span></span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US">Ciccoricco, David. </span></span></span>Reading Network Fiction. Tuscaloosa: University of Alabama Press, 2007. Print. <br /><br />Hillis Miller, Joseph. Topographies. Stanford, Stanford University Press, 1995. Print.<br /><br />Lefebvre, Henri. The Production of Space. Oxford: Basil-Blackwell, 2007. Print.<br /><br />Richards, I.A. The Principles of Literary Criticism. London: Trubner, 1926. Print. <b><br /></b></span></span></span><br />
<span lang="EN-US" style="font-family: Cambria; font-size: 8.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span>James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-42467206158327416922014-03-04T21:50:00.000+01:002014-03-07T21:47:45.333+01:00History on Digital: Simulation and Distributed over the Internet<div class="separator" style="clear: both; text-align: center;">
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An assertion is made, "All war is a failure" and the 61 countries that were involved in World War One (1914-1918) is reduced to just 4 states and one empire. A series of tweets follows that could not be called a discussion, with a re-tweet and a counter assertion running parallel to each other. Is this public history (i.e. the creation of knowledge from and for historical paradigms in the public sphere)?<br />
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I follow history online. From the twitter account <a href="https://twitter.com/RealTimeWWII">Real Time WWII</a> to the spatial experience of <a href="http://romereborn.frischerconsulting.com/">Rome Reborn</a>. Between these two examples are the millions of documentaries on YouTube (I can recommend <a href="http://www.youtube.com/user/AllHistoryBuff?feature=watch">All History Buff</a>). I also use social media to teach cultural studies from a historical perspective. My area of research expertise is narrative studies related to technology and spatial representations. In this post I want to discuss an aspect of public history online that occupies a lot of my thought. I propose that the 'real time' of mediating history with digital media poses potential problems for critical method as we understand it today. This problem emerges from a long tradition of reading as arguably the dominant form of media consumption in relation to history.<br />
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The mediation of culture is widespread today (8-9 <a href="http://www.diva-portal.org/smash/get/diva2:698718/FULLTEXT02.pdf">Kaun and Fast 2014</a>). Part of that mediation is the presentation of history, often in 'live' 'real-time' or participatory modes using digital media. Digital media offer offers specific temporal and spatial perspectives on the presentation of history that result in immersive experiences and a strong sense of identification with the subjects of mediation. It is in this way, of activating space and time in narrative that Social Networking Sites (SNS) "should not only be considered as infrastructures that allow for social interaction, but as emerging actors in their own right" (Kaun and Fast 51). <br />
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Examples of history in 'real time' via digital media such as <a href="https://twitter.com/RealTimeWWII">Real Time WWII</a>, the <a href="http://www.evl.uic.edu/cavern/harlem/">Virtual Harlem Project </a>and the <a href="http://www.museumoflondon.org.uk/Resources/app/you-are-here-app/home.html">London Museum's Street Museum app</a> are examples of mediation of history using digital tools that place people in the visual and temporal field of their subjects.<br />
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Many times I have opened Twitter and read @RealTimeWWII with the feeling I am reading newspaper headlines for the day.<br />
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Another example of this 'live' feel to history is <a href="https://twitter.com/kokoda1942LIVE">@kokoda1942LIVE</a>, a Twitter account of the New Guinea campaign by the Australian army against the Japanese in World War II. As well I have roamed the streets of Harlem in the 1920s and visited an empty Cotton Club, with jazz playing.<br />
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The question I ask is did I learn anything from being in a space that simulates the events or time that is the subject of the history? My answer is, I do not believe that simulation alone is enough for the advancement of historical scholarship. The positioning of a viewer within the representation does not mean there is knowledge produced.I contrast the above image from Virtual Harlem with one taken from Harlem in 1920s.</div>
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Virtual Harlem, Street Museum, @Kokoda1942Live and @RealTimeWWII are examples of digital media in the service of history with a strong element of simulation added. The three examples provide a suggestion of sharing something of the time and space depicted. They do not necessarily stimulate questions, provide multiple points of interpretation or the polyphony that is so often found in well researched history, anymore than a photograph or a sonnet does. </div>
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There are however, examples where I do believe digital media can be used for effective historical scholarship. Examples include <a href="http://www.mayaarch3d.org/project-history/">Dr. Heather Richards-Rissetto’s work in Copan in Honduras</a> with gesture-based 3D GIS system to engage the public in cultural heritage (Richards-Rissetto 2012 2013). Another example is Dr Cecilia Lindhé working in Sweden on ‘Rethinking medieval spaces in digital environments’ (Lindhé 2013).</div>
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<a href="http://vimeo.com/67817265">Cecilia Lindhe's keynote paper - Digital Scholarship ‘day of ideas’ - Thursday 2 May 2013</a> from <a href="http://vimeo.com/chssedinburgh">HSS Webteam</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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The <a href="http://romereborn.frischerconsulting.com/">Rome Reborn Project</a> is further example that builds models using digital media that are then tested against evidence:<br />
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"Rome Reborn is an international initiative whose goal is the creation of 3D digital models illustrating the urban development of ancient Rome from the first settlement in the late Bronze Age (ca. 1000 B.C.) to the depopulation of the city in the early Middle Ages (ca. A.D. 550). With the advice of an international Scientific Advisory Committee, the leaders of the project decided that A.D. 320 was the best moment in time to begin the work of modeling. At that time, Rome had reached the peak of its population, and major Christian churches were just beginning to be built. After this date, few new civic buildings were built. Much of what survives of the ancient city dates to this period, making reconstruction less speculative than it must, perforce, be for earlier phases. But having started with A.D. 320, the Rome Reborn team intends to move both backwards and forwards in time until the entire span of time foreseen by our mission has been covered."</blockquote>
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Like the work of Dr. Heather Richards-Rissetto the Rome Reborn project attempts to triangulate known facts against a three-dimensional model and the existing theory, to come to some new conclusions about how Rome developed as an urban space. </div>
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<a href="http://vimeo.com/50673261">Kinect and 3D GIS for Archaeology</a> from <a href="http://vimeo.com/jennifervonschwerin">Jennifer von Schwerin</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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The glaring conclusion here is that the powerful reach and popularity of digital media should be considered according to specific needs when practicing public history online. The feedback and interactive potentials of digital media should be separated from the popularity of digital tools. Each has affordances, but they are not necessarily in the service of each other. There are enormous opportunities and great possibilities to be gained from working in history with digital tools in the public sphere. But a literacy needs to be developed along the way, as well as distinct goals and methods too.</div>
<br />James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-13927032314757390132014-02-22T11:44:00.000+01:002014-04-22T21:23:53.814+02:00Julian Assange Takes Space<iframe allowfullscreen="" frameborder="0" height="580" src="//www.youtube.com/embed/vNqd4hW98sQ" width="740"></iframe>
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<span style="font-family: Arial,Helvetica,sans-serif;">Julian Assange dancing in Reykavik in 2011. </span>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">"It was Evelyn Waugh who said that when a writer is born into a family the family is over. And why would it be any different when a second family comes to call? Julian wanted a brother, a friend, a PR guru, a chief of staff, a speechwriter, and he wanted that person to be a writer with a reputation. When he was working with those fellows from the <i>Guardian</i>, the <i>New York Times</i> and <i>Der Spiegel</i>, he allowed himself to forget that they were journalists with decades of experience and their own fund of beliefs. To him they were just conduits and possible disciples: he is still reeling, even today, from the shock that they were their own men and women. My discussions with
him would go on, in private, long after the idea of ‘collaboration’ was over. But he consistently forgot that I am foremost a writer and an independent person. Julian is an actor who believes all the lines in the play are there to feed his lines; that none of the other lives is substantial in itself. People have inferred from this kind of thing that he has Asperger’s syndrome and they could be right. He sees every idea as a mere spark from a fire in his own mind. That way madness lies, of course, and the extent of Julian’s lying convinced me that he is probably a little mad, sad and bad, for all the glory of WikiLeaks as a project. For me, the clarifying moment in our relationship came when he so desperately wanted me to join him on the helicopter flight to Hay. He wanted me to see him on the helicopter and he wanted me to assist him in living out that version of himself. The fact he was going to a book festival to talk about a book we both knew he would never produce was immaterial: he was flying in from Neverland with his own personal J.M. Barrie. What could be nicer for the lost boy of Queensland with his silver hair and his sense that the world of adults is no real place for him? By refusing the helicopter I was not refusing that side of him, only allowing myself the distance to see it clearly for what it was. And to see myself clearly, too: I have had to fight to grow away from my own lost boy, and it seemed right that day to fly a kite with my daughter and retain my independence from this man’s confused dream of himself." - <a href="http://www.lrb.co.uk/2014/02/21/andrew-ohagan/ghosting">Ghosting by Andrew O'Hagan</a></span></span></blockquote>
<span style="font-family: Arial,Helvetica,sans-serif;">The great tragedy of Julian Assange and Wikileaks is that they have become one in the same thing. The role of Wikileaks is now the life of Assange. In 2010 when the heat was closing in, Assange should have set up an administrative panel to manage the organization and then continued to fight his own battles independent of the function of Wikileaks. By reading <i>Ghosting</i> by Andrew O'Hagan we gain insight into why this would never have happened. Assange is brilliant, but his poor skills with people and how his own fears and obsessions dominate the decision making processes of the organization result in a spectacle driven series of explosive revelations. </span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">"One of the issues that bugged me was how far all this had taken us from
the work WikiLeaks had started out doing. I believed at this stage that
the organisation could regroup after the legal appeals and the
autobiography battle, returning to the core work that had made Julian’s
name. But there was strong evidence now that he was devoted to his legal
problems as well as to skirmishes with former collaborators over his
reputation" </span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">- <a href="http://www.lrb.co.uk/2014/02/21/andrew-ohagan/ghosting">Ghosting by Andrew O'Hagan</a></span></span>. </span></blockquote>
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<span style="font-family: Arial,Helvetica,sans-serif;">The entrance of personality into journalism is journalism at its lowest level. The most obvious similar example, and one from a very different sphere than Wikileaks is <a href="http://en.wikipedia.org/wiki/News_of_the_World">News of the World</a>. Reputation and publishing are tied together, but like <a href="http://en.wikipedia.org/wiki/The_Economist">The Economist</a>, there is no reason for this to be centered on individuals. Even mainstream traditional publishing can be done anonymously right through to the point of readership. The name of the publication is enough to ensure reputation.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">By breaking his confidentiality, O'Hagan delivers a fascinating portrait of Assange. No matter what happens in the future, Julian's role in the history of digital media is assured. However, by making himself the public face of Wikileaks, Assange opened himself up to exactly the sort of scrutiny and critique that O'Hagan delivers. Thus the tragedy of Assange is the tragedy of Narcissus:</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><a class="character" href="http://www.gradesaver.com/character.html?character=53263">Narcissus</a>
is the most beautiful boy whom many have ever seen, but he does not
return anyone’s affections. One of the disappointed nymphs prays to the
god of anger, <a class="character" href="http://www.gradesaver.com/character.html?character=53267">Nemesis</a>,
that "he who loves not others love himself." Nemesis answers this
prayer. Narcissus looks at his own reflection in a river and suddenly
falls in love with himself. He can think of nothing and no one else. He
pines away, leaning perpetually over the pool, until finally he
perishes.</span></blockquote>
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<span style="font-family: Arial,Helvetica,sans-serif;">Information waits for no man and unless Assange can redefine himself in the contexts of more recent and less personality driven acts related to information, power and access (i.e. Manning, Snowden), he is in danger of becoming a figure in a digital mythology that warns against rather than inspires. O'Hagan comes to a similar conclusion when he writes, <span style="font-size: small;">"</span></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">WikiLeaks should not only bale stuff out onto the web, but should then
facilitate the editing and presenting of that work in a way that was of
permanent historical value". I believe it is too late for this now, and unless Assange can extricate himself from his present situation and rebuild trust with his key allies and the broader community of digital information activists, then his enemies (and he has so many of them) have won. The defeat of this Narcissus would be no victory for the people trying to make sense of the global digital pool we all now live in. Freedom is under threat, as Chelsea Manning writes in </span></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">her <a href="http://pastebin.com/igpXK26G">Sam Adams Award Acceptance Speech, Feb 2014</a>;</span></span><br />
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">"</span></span><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">When the public lacks the ability to access what its government is
doing, it ceases to be involved in the governing process. There is a
distinct difference between citizens, in which people are entitled to
rights and privileges protected by and from the state, and subjects, in
which people are placed under the absolute authority and control of the
state. In essence, this is the difference between tyranny and freedom.
To echo a maxim from Milton and Foes Friedman: a society that puts
secrecy - in the sense of state secrecy - ahead of transparency and
accountability will end up neither secure nor free."</span></span></blockquote>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The stakes are that high. Assange has to understand that what he has voluntarily taken on in his 'job' is so important that he no longer matters as an individual, no matter how painful and difficult that realization is. It seems Chelsea Manning is aware of that as her present defiance indicates while still languishing in prison. </span></span>James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-66870702028271332222014-01-24T19:01:00.000+01:002014-02-22T13:15:54.013+01:00Reel to Reel Tape as Read Write Cultural Artifact<iframe allowfullscreen="" frameborder="0" height="480" src="//www.youtube.com/embed/daD_Qzakz0o" width="753"></iframe><br />
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<span style="font-family: Helvetica; font-size: 10.0pt;">I have
chosen a Tandberg Series 14 reel-to-reel tape player as an artifact for the
<a href="http://www.tenstakonsthall.se/mobiles/?en#now">Tensta Museum Apartment</a> as I believe it reflects the democratic values and
social possibilities associated with the Million Program (Swedish:
Miljonprogrammet). The company of the same name manufactured the Tandberg between
1968 and 1978 in Oslo, Norway. Tandberg was a high quality device that was used
in schools, universities and homes in Sweden<span style="font-size: xx-small;">. (1) </span>The reel to reel placed media in the hands of ordinary people, allowing them to record audio and
even abstract and collage the sounds around them. In this sense, the Tandberg
represents the beginnings of a read/write culture that is standard with digital
media today. <b style="mso-bidi-font-weight: normal;"> </b></span><br />
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<span style="font-family: Helvetica; font-size: 10.0pt;"><b style="mso-bidi-font-weight: normal;">People could produce media
as well as consume it with the Tandberg.</b> </span></div>
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<span style="font-family: Helvetica; font-size: 10.0pt;">Like the typewriter in the early
20<sup>th</sup> century, the reel-to-reel tape recorder enabled people to
record and represent and even abstract their experiences and ideas. But unlike
the typewriter, the Tandberg did not need extra coding (i.e. literacy) to
operate. As long as someone could speak and listen, home produced audio became
accessible. Finally, the Tandberg player here is accompanied by a found recording
from the early 1980s of the exiled Somalian writer Nuruddin Farah (b. 1945). On
the tape, Farah speaks of his writing, as well as the Somalia he grew up in and
of the diaspora he was part of and his exile. The Somalian diaspora is an important
part of Tensta today. Thus, almost 50 years of Tensta history is embodied in
the Tandberg Series 14 reel-to-reel player, from the aspirations of the Million
Program to the multiculturalism of Sweden today.</span></div>
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<span style="font-family: Helvetica; font-size: 10.0pt;">James Barrett</span></div>
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<sup><span lang="SV" style="font-size: 9.0pt; mso-ansi-language: SV;"><span style="font-family: Cambria;">1. </span>"På 1950-talet och
1960-talet ansågs Tandbergs bandspelare vara bland de bästa och det var som
regel Tandbergbandspelare som köptes in till svenska skolor." Music in
Folkhemmet <a href="http://www.ravjagarn.se/blogg/tag/musik/">http://www.ravjagarn.se/blogg/tag/musik/</a></span></sup></div>
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James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-69491676960817779642014-01-19T10:40:00.002+01:002014-01-19T10:40:19.894+01:00CABARET TOXIQUE celebrating the centenary of William S. Burroughs in Paris<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><a href="http://tsunamibooks.jimdo.com/">Tsunami Books</a> presents CABARET TOXIQUE celebrating the centenary of William S. Burroughs - 2
theatres of operations-interventions in France (Paris & Lyon), featuring
Tsunami Gang (Henrik Aeshna, Anita Volk, Sandra Wild, and more)<br />
<br />
1st part: LYON (January 25, 6pm - La Menuiserie, 3 rue Carquillat 69001), <br />
featuring Tsunami Gang (Henrik Aeshna, Anita Volk, Sandra Wild & others)<br />
2nd part: PARIS, late February (place and date to be announced)<br />
<br />
ACTIVITIES :<br />
<br />
sound pandemonium with multiple instruments & voices – supernovas
glossolalias newbornscreams dancing plague erotic apocalypse<br />
° cut-ups & excerpts of William S. Burroughs, Brion Gysin, Claude Pélieu,
Charles Plymell, Carl Weissner, Hassan-I-Sabbah, Jean-Jacques Lebel, Steve
Dalachinsky, Stanislas Rodanski, Antonin Artaud, Gregory Corso, Allen Ginsberg,
Lawrence Ferlinghetti, Rimbaud, Lautréamont, Sainkho Namtchylak, Baroness Elsa
von Freytag-Loringhoven, Sainte Thérèse de Lisieux, Anita Berber, Kathy Acker,
Baba Yaga<br />
+ Chansons Toxiques & <br />
Shamanoise Hallucinema SchizoPoP Manifesto<br />
<br />
THE CONSPIRATORS :<br />
<br />
* HENRIK AESHNA is a visionary vandal hated by Blablaist theoreticians and all
kinds of conservatives -, poet-performer, provocateur, unclassifiable
multidisciplinary creator, editor, polyglot translator and voyager-explorer
based in Montmartre-Paris.<br />
Former nude model turned Rimbaudian anti-model/anti-prophet of SchizoPoP
Manifesto, Aeshna is also engaged in a radical dialogue with the masters of
disorder and ecstasy from faraway tribal cultures (especially after his many
experiences with Ayahuasca in South America, years ago), with Experimental
Cinema, Butoh, women writers, street art, long lost bohemias and radical
underground avant-gardes, and whatever interesting, disturbing, taboo-defying,
rule-breaking and magma-infused crosses his way (without attaching to any
reproductions and clichés). <br />
Poet-bomber-wild-child armed with a sharp dionysian syntax (incendiary pies
with splashes of absurdity and humour noir thrown in defying all the crowns and
clichés of our post-post-post-modern age), in 2008 he sold Van Gogh’s ear in
minced meat packages displayed in a kiosk set up outside the Van Gogh Museum in
Amsterdam.<br />
For further info (news, art, books, interventions, Shamanoise Hallucinema /
intravenous visual deliriums): <br />
° <a href="http://www.henrikaeshna.com/#%21__exhibition-henrik-aeshna"><span style="color: blue;">http://www.henrikaeshna.com/#!__exhibition-henrik-aeshna</span></a><br />
° <a href="http://www.facebook.com/l.php?u=http%3A%2F%2Febsn.eu%2Fmembers%2Fhenrik-aeshna%2F&h=OAQHnd7ep&enc=AZM3s8eD43qSTaE-xjtvmS_YDwRRXwzMlLM5k7nuV196nxNxD-HXgRfT3S9vz-pTBNqh5HbkbhhyeSol_roX52DxNud_S7-F865ANRlYxSIFgEbiIDe4sJXfrO_fxXhd4Mly2XgGRF9ogbyeG6la1-GG&s=1"><span style="color: blue;">http://ebsn.eu/members/henrik-aeshna/</span></a><br />
<br />
* ANITA VOLK is a brazen clown exploring wetlands of ungratefulness, weirdness
and nakedness, storming long waiting rooms to smear armchairs ornaments clocks
and masks. She sings writes writhes breathes spits out her words and those of
others. Inspired by the writings of Michaux, Bataille, Vian, Bachelard,
Nietzsche, Novarina, Deleuze, Dostoyevsky, the Dada comets, Henry Miller, Anaïs
Nin, Artaud, Joyce Mansour, Kerouac, Hesse and Butoh, the chansons of Fréhel,
Nitta Jo, Yvette Guibert, Marie Dubas (CHANSONS TOXIQUES - 1907-1946), Léo
Férré, Brel, Brassens, Bobby Lapointe, Vian and Gainsbourg, Anita’s universe is
made up of the forces, rages, disarrays, beauties and hideousnesses of this world.
Focusing her research on chant, dance and poetry, her aim is both to enter the
secret realms of these languages and develop them through improvisation, thus
achieving a spontaneity situated outside all disgusting logics and atavisms.<br />
<br />
* SANDRA WILD is a whore of the present time, the President’s whore. She’s
Margheritta, margheritte, Saint Rita (showing an incurable wound on her face),
the saint of desperate and lost causes (staring at someone) she herself
desperate. She’s called Mireille Havet, and she won’t ever eat your bread. Call
her Sandra. Sandra Wild. Having just finished her 7-year philosophy studies
Sandra Wild is now due to open a butcher’s shop-delicatessen in a children’s
center so as to give the unemployed aged less than 10 years a chance to work.
They will learn on site how to bone one another.</span></span></div>
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James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-86994834865572329392014-01-14T21:52:00.000+01:002014-03-03T20:33:11.013+01:00Historicizing Public Space with QR-Codes<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglCbA7bBhiimLjnRVFxGZmK-BZqOmHM2F_8_V1etRbYQWPNmXSG6hGPhLOLfagiqMwwEvAn5tQWrlyrlu29I_N6I886LuNn75hiqWONNJq6Ijf0zOUY_84Cbe_pbVuquwhkMfMtw/s1600/Bild05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglCbA7bBhiimLjnRVFxGZmK-BZqOmHM2F_8_V1etRbYQWPNmXSG6hGPhLOLfagiqMwwEvAn5tQWrlyrlu29I_N6I886LuNn75hiqWONNJq6Ijf0zOUY_84Cbe_pbVuquwhkMfMtw/s640/Bild05.jpg" /></a></div>
<br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>Datum:</b>
2014-01-16
</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>Tid:</b>
<span class="value">09.00</span></span></span>
<br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>Evenemanget vänder sig till:</b>
studenter
-
allmänheten
-
anställda
</span></span><br />
<h3>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
HUMlab and the Department of Culture and Media Studies Presents Four Augmented Information Installations:<br />
‘Historicizing Public Space’</span></span></h3>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Throughout the Fall Term 20013/14 four groups of museum studies
students have been working in <a href="http://www.humlab.umu.se/en">HUMlab</a> on projects that utilize
traditional research, web design, digital authorship, writing for the
web, film, audio and image production, urban design and museum studies.</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Their assignment was to locate a publicly accessible space in Umeå,
research an important event or history that is associated with that
space and create an account of it that users can access on site, using
QR-Codes (Quick Response Codes) from mobile digital devices (smart
phones, tablets, iPods).</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">This Thursday 16 January 2014 at 09:00 in Ålidhem Centrum a tour of the
four QR-Code installation sites will begin. First up is a history of
Ålidhem as a site of conflict and drama; the development of the ‘Million
Homes Project’ in the 1970s in the area involved environmental
conflict. This is the starting point for an interesting journey through
Ålidhem.</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Next up is the SF Bio Filmstaden in central Umeå, where an account of
the long history of cinema in Umeå will be presented with QR-codes,
which includes videos of what cinema means to people today. This is
followed by an installation on Rådhustorget that deals with the recent
events around the manifestation by the neo-Nazi organization the Svenska
motståndsrörelsen (Swedish Resistance Movement) and changes to the
central plan of Umeå from a democratic perspective.</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Finally the history of the Umeå cathedral is mediated on site by
QR-Codes, with a particular focus on the history of feminist,
transgendered and queer issues in relation to Swedish Church.</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Anyone interested in the design of digital information and interaction
in public space, along with historians, digital humanists, and media
studies are welcome to attend this assessment demonstration in a
respectful and cooperative way.</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>Contact person:</b>
<a href="mailto:jim.barrett@humlab.umu.se">James Barrett</a></span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
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<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b><span lang="EN-GB">Assessment of QR-Code
Project for Museum Studies</span></b></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Students
organized themselves into four groups.</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="SV">Group 1 – Ålidhem</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="SV">Group 2 – SMR (svenska
motståndsrörelsen) Anti/Manifestation and Apberget</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Group 3 –
SF Bio and Bio Historia I Umeå</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Group 4 –
Stadskyrkan</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">The groups
were assigned tasks:</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoListParagraphCxSpFirst" style="text-indent: -18pt;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">1.<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span lang="EN-GB">Select
a publically accessible place in Umeå that has historical or narrative
associations that could be translated into a museum project and mediated by
QR-codes and online content, which the users experience in real time and on-site.
</span></span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="text-indent: -18pt;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">2.<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span lang="EN-GB">Organize
a working group (2-5 people) around the subject; create a project plan and
synopsis, delegate tasks, create a timeline for production, research the
subject and organize materials, design the experience of the visitor to the site
according to the space, place, history and narrative mediated by digital
materials and the QR-code.</span></span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="text-indent: -18pt;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">3.<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span lang="EN-GB">Produce
digital materials for the online component of the project. These could be text,
image, video and audio. Skills involved in the production of digital materials
include writing text, image editing (Photoshop), audio production (Audacity), video
production (Adobe Premiere) and web composition and HTML coding (Wordpress). </span></span></span></div>
<div class="MsoListParagraphCxSpLast" style="text-indent: -18pt;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">4.<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span lang="EN-GB">Implement
the QR-Code project on site and show it relates to the topic and brings users
into the experience of that knowledge.</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">The
students were introduced to ‘Place’ as a critical concept and how digital media
contributes to it as an information system from specific examples. Based on
this conception of place, the QR-code project takes up how they can
professionally add a layer of information to a place.</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">The first practical
goal of the course was to plan and visualize a digital project of the type that
the students are undertaking. They began with composing a short statement of
intent, regarding what it is they wished to achieve in the project. The
students were then introduced to the aspects of the project they must consider
in their planning:</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoListParagraphCxSpFirst" style="text-indent: -18pt;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">1.<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span lang="EN-GB">The
site: (includes considerations around public and private space, management of
the site, the conditions the site imposes upon visitors, the site as a space
and how it is interacted with, connectivity and access)</span></span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="text-indent: -18pt;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">2.<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span lang="EN-GB">The
subject: (is this a historical subject, a critical project, is there
information available, what does the subject represent in broader contexts-
examples can include community, critical approaches, and how does the subject
relate back to the course materials and teaching).</span></span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="text-indent: -18pt;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">3.<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span lang="EN-GB">The
media: What forms of media will the group being employing in the project? How
will they be integrated into the site and the subject? Do people in the group
have experience that is relevant to the project?</span></span></span></div>
<div class="MsoListParagraphCxSpLast" style="text-indent: -18pt;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">4.<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span lang="EN-GB">The
goals: the successful integration of information and place that is interactive
and interesting and successful group work as cooperation, planning, delegation,
documentation and results.</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">These
points resulted in a visualization of the project by each group. This was done
as simple sketch-ups on paper (e.g. diagrams, charts or actual maps). This
developed into the plan for the project.</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">Blogging
for students followed two approaches, a) Process and b) Presentation. The
process was documented in the blog as the students moved towards presenting the
blogs as the destination for the QR-code links. The blogs must be part of the ongoing
work. The presentation was the final status of the blogs for the users of the
QR-codes on site.</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">The examination task was a completed
QR-code based site that deals with the 'museumification' of a public space by
introducing a designed layer of information to the site via digital media. The criteria
for our examining these projects as passed is:
</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoListParagraphCxSpFirst" style="text-indent: -18pt;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">1.<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span lang="EN-GB">Successful
integration of information and place that is interactive and interesting</span></span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="text-indent: -18pt;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">2.<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span lang="EN-GB">Successful
group work as cooperation, planning, delegation, documentation and results.</span></span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="text-indent: -18pt;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">3.<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span lang="EN-GB">Demonstration
of technical skills in the use of digital production and publishing tools.</span></span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="text-indent: -18pt;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">4.<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span lang="EN-GB">Demonstration
of critical concepts by the design, production and interaction within the
QR-Code Project.</span></span></span></div>
<div class="MsoListParagraphCxSpLast" style="text-indent: -18pt;">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB">5.<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span><span lang="EN-GB">Successful
user interaction with the QR-Code project on site.</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>Online Materials for QR-Code Projects</b></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://student.humlab.umu.se/ello0006/">http://student.humlab.umu.se/ello0006/</a><br />
<br />
<a href="http://student.humlab.umu.se/jepa0031/">http://student.humlab.umu.se/jepa0031/</a></span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br />
<a href="http://student.humlab.umu.se/joma0191/">http://student.humlab.umu.se/joma0191/</a></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<a href="http://olivituss.wordpress.com/"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span lang="SV">http://olivituss.wordpress.com/</span></span></span></a></div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span>James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-5938469682832235642014-01-13T15:31:00.000+01:002014-01-13T15:31:15.294+01:00“The Burroughs Century: Celebrating the Legacy of William S. Burroughs” 5-8 Feburary Bloomington IN.<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhyphenhyphen_x9SUE5YzgV8u7OjdalPEwUZ7sDCbjz60C-EOrjlsKT0rqtxwf0cm9LHcGlUbJPegRp07cD7Kh2KUXSsiAHBfDEqNSDS0eXFo8p3fJWBwJPVi1D51jAIf2pPWyTmRzpXAtBTg/s1600/1536515_10151811494501712_1844829304_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhyphenhyphen_x9SUE5YzgV8u7OjdalPEwUZ7sDCbjz60C-EOrjlsKT0rqtxwf0cm9LHcGlUbJPegRp07cD7Kh2KUXSsiAHBfDEqNSDS0eXFo8p3fJWBwJPVi1D51jAIf2pPWyTmRzpXAtBTg/s640/1536515_10151811494501712_1844829304_n.jpg" width="414" /></a></div>
<br />
William S. Burroughs is an American author, essayist, painter, and
spoken-word performer, and would turn 100-years-old this upcoming
February. He is considered to be “one of the most politically trenchant,
culturally influential, and innovative artists of the 20th century,”
writing eighteen novels and six short story collections. His life’s
journey took him through an education at Harvard, many reckless
experiences in Mexico and other countries, and countless artistic
endeavors amongst the other great Beats, Kerouac and Ginsberg, in New
York City.<br />
<br />
In celebration of his 100th birthday this February, <a href="http://burroughscentury.org/">Bloomington has developed a festival in his honor</a>, knowing his influence throughout
America, and our own everyday lives. We are calling this event the
Burroughs Century, but we are not looking backward; rather, we believe
that the Burroughs Century is ongoing, that we are in the midst of it,
and we intend to stage an event that indicates the full range of that
continuing influence, including a film series, art and literature
exhibits, speakers and panels, musical performances, and more.<br />
<br />
Listen to <a href="http://www.beatdom.com/?p=2623" target="_blank" title="The Beatdom Podcast">The Beatdom Podcast</a> for more information on the festival and discussion of the Beat Generation.<br />
James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-29468039893977237302014-01-12T14:47:00.002+01:002014-01-12T17:40:50.821+01:00Ten Online Documentaries on the Digital RevolutionThe Internet is now the driving force behind change and innovation in the world.<br />
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1. <a href="http://www.youtube.com/playlist?list=PLG6Zp6YgmKB_XKoRtWAkCSohTbifVqiGj">Download: The True Story of the Internet</a><br />
2. <a href="http://www.youtube.com/watch?v=CO2mGny6fFs">The Age of Big Data<br />
</a>3. <a href="http://www.youtube.com/watch?v=QV9dhGv_tTs">Resonance: Beings of Frequency</a><br />
5. <a href="http://www.youtube.com/watch?v=JaFVr_cJJIY">Life In A Day<br />
</a>6. <a href="http://www.youtube.com/watch?v=_wqm6G5DjaI">Networked Society: On The Brink<br />
</a>7. <a href="https://vimeo.com/4489849">Us Now: Social Media and Mass Collaboration<br />
</a>8. <a href="http://www.youtube.com/watch?v=NhTfOL9_HBE&list=PL6D8EE2E0B836F096">WikiRebels: The WikiLeaks Story<br />
</a>9. <a href="http://www.youtube.com/watch?v=PQtCnYkp1UM">The Virtual Revolution: The Cost of Free<br />
</a>10. <a href="http://www.youtube.com/watch?v=Rj35GguOAGE">How Hackers Changed the World</a><br />
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<br />
<a href="http://www.diygenius.com/mind-expanding-documentaries/">290 more documentaries in a similar perspective to arts life and politics here. </a>James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-18933856429631922922014-01-12T13:18:00.000+01:002014-01-12T13:25:49.934+01:00Preserving Digital Literature: 'Alleph: A Self Portrait' by Sakab Bashir (2003)'Alleph: A Self Portrait' won a BAFTA Interactive Arts Award in 2003 for its author Sakab Bashir. The work is <a href="http://www.alleph.net/">no longer available online</a>, but I include some screen shots here from a prolonged study I made of it as part of my graduate work for a earlier incarnation of my PhD thesis. 'Alleph' is a beautiful multimedia production in which links opened to audio and video loops. Seven spaces linked together to provide an allegory of the major stages of life. Material was lifted from the 12th Century Sufi poem <a href="http://en.wikipedia.org/wiki/The_Conference_of_the_Birds">The Conference of the Birds</a> and intertwines with material sampled from popular films from the 20th Century, images of a school, a prison, a hospital, a workshop and a menhirs on a hill. There are adaptations of seven verse stories from The Conference of the Birds in Alleph; ‘A Pauper in Love’, ‘The Heron and the Sea’, ‘Rabe’eh and the Two Grains of Sand’, ‘The Ambiguous Courtesan’, ‘The Devil Complains’, ‘Joseph and the Well’ and ‘The Martyrdom of Hallaj’. Titles flowed across the screen and one manipulated and navigated the text of 'Alleph'. As one navigated further through the work the flowers opened around the main image, thus positioning the reader in the looping structure of 'Alleph' (it resumed again once the final image had been completed for links and media).<br />
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I present a few screen shots here to give an idea of what 'Alleph' looked.<br />
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<br />James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-46931377615261182182013-12-23T20:31:00.002+01:002013-12-23T20:33:20.052+01:00Designing Media with Blixa Bargeld with Erin Zhu<iframe allowfullscreen="" frameborder="0" height="480" src="//www.youtube.com/embed/iKELMpKsw4g" width="753"></iframe><br />
Blixa Bargeld, former guitarist with Nick Cave and the Bad Seeds, leads an innovative industrial Goth-rock band called Einsturzende Neubauten, based in Berlin. Band members work with whatever readymade scrapheap objects they can find to act as musical instruments, hence the label industrial rock. Blixa's wife, Erin Zhu, an American originally from China, has extensive experience working in Internet start-ups. Soon after their marriage, Erin was able to help the band develop an elaborate Web-based fan subscription experiment that bypasses the traditional music business, allowing them to release the album Alles Wieder Offen in 2007. They have continued to develop this model because without the sponsorship of a record company they rely on fans to donate subscriptions for exclusive editions of the CDs and DVDs plus privileged access to the musicians and the entire creative process.<br />
<br />
Blixa Bargeld has been leading an innovative industrial rock band based in Berlin for decades and has accumulated a loyal and enthusiastic community of fans. Working in the traditional relationship to music publishers, he was never able to do more than cover the costs of production and even that level of support was steadily eroding. In the next interview, with Blixa and his wife, Erin Zhu, we learn how a band like his can bypass the traditional music business, developing a self-supporting economic model based on subscriptions from fans, enabled by the Internet. - <a href="http://www.designing-media.com/interviews/BlixaBargeldErinZhu#sthash.0CEfbG1t.dpuf">http://www.designing-media.com/interviews/BlixaBargeldErinZhu#sthash.0CEfbG1t.dpuf</a>
James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-16431274128988800162013-12-20T00:40:00.002+01:002013-12-20T00:40:45.816+01:00Dialogism: Texts and Directions<blockquote class="tr_bq">
Dialogism is “the characteristic epistemological mode of a world dominated by heteroglossia. Everything means, is understood, as a part of a greater whole - there is a constant interaction between meanings, all of which have the potential of conditioning others” (Bakhtin 2004 426). Applied more broadly, dialogism is a development out of dialectics, the process by which meaning and knowledge are created through change and the alignment of binary, oppositional forces that results in defined points in history and cycles. Dialogism is networked, multiple, fractal, complex and 'chaos' driven. It builds depths and surfaces, not cycles.
</blockquote>
<ul class="files list-unstyled clearfix" data-target="#modal-gallery" data-toggle="modal-gallery" id="gallery">
<li class="image" data-id="51c5856f6c3a0e090cdd0e00"><div>
<h5>
<a class="title" href="http://grr.aaaaarg.org/txt/image/detail.php?id=51c5856f6c3a0e090cdd0e00" title="Bakhtin Reader">Bakhtin Reader</a></h5>
<h6>
Mikhail Bakhtin</h6>
<div class="lead">
A reader edtied by Pam Morris.</div>
</div>
</li>
<li class="image" data-id="51c584176c3a0ed90b3c0300"><div>
<h5>
<a class="title" href="http://grr.aaaaarg.org/txt/image/detail.php?id=51c584176c3a0ed90b3c0300" title="The Problem of Speech Genres and Other Late Essays">The Problem of Speech Genres and Other Late Essays</a></h5>
<h6>
Mikhail Bakhtin</h6>
<div class="lead">
Bakhtin moves away from the novel and concerns himself with the problems of method and the nature of culture</div>
</div>
</li>
<li class="image" data-id="51c58bfe6c3a0eda0b627600"><div>
<h5>
<a class="title" href="http://grr.aaaaarg.org/txt/image/detail.php?id=51c58bfe6c3a0eda0b627600" title="Dialogue in intercultural communities">Dialogue in intercultural communities</a></h5>
<h6>
Claudio Baraldi (editor)</h6>
<div class="lead">
a good text on dialogue in intercultural settings.</div>
</div>
</li>
<li class="image" data-id="52176449307888af0a0002bd"><div>
<h5>
<a class="title" href="http://grr.aaaaarg.org/txt/image/detail.php?id=52176449307888af0a0002bd" title="Ethics, Politics and the Potential of Dialogism">Ethics, Politics and the Potential of Dialogism</a></h5>
<h6>
Craig Brandist</h6>
<div class="lead">
Historical Materialism, Volume 5, Number 1, 1999</div>
</div>
</li>
<li class="image" data-id="51c58dd26c3a0ec111381000"><div>
<h5>
<a class="title" href="http://grr.aaaaarg.org/txt/image/detail.php?id=51c58dd26c3a0ec111381000" title="Two Routes "to Concreteness" in the Work of the Bakhtin Circle">Two Routes "to Concreteness" in the Work of the Bakhtin Circle</a></h5>
<h6>
Craig Brandist</h6>
<div class="lead">
Article on the Bakhtin Circle and phenomenology</div>
</div>
</li>
<li class="image" data-id="52b30d19307888981500001c"><div>
<h5>
<a class="title" href="http://grr.aaaaarg.org/txt/image/detail.php?id=52b30d19307888981500001c" title="The Bakhtin Circle: In the Master's Absence">The Bakhtin Circle: In the Master's Absence</a></h5>
<h6>
Craig Brandist, David Shepherd, Galin Tihanov (eds)</h6>
<div class="lead">
Collection
of articles about the work of the various members of what is now known
as 'the Bakhtin Circle', other than Bakhtin himself. The volume also
includes translations of original works by members of the Circle.</div>
</div>
</li>
<li class="image" data-id="51c58dd26c3a0ec111f71600"><div>
<h5>
<a class="title" href="http://grr.aaaaarg.org/txt/image/detail.php?id=51c58dd26c3a0ec111f71600" title="The dialogics of critique: M.M.Bakhtin and the theory of ideology">The dialogics of critique: M.M.Bakhtin and the theory of ideology</a></h5>
<h6>
Michael E. Gardiner</h6>
<div class="lead">
The dialogics of critique: M.M.Bakhtin and the theory of ideology</div>
</div>
</li>
<li class="image" data-id="51c58dd26c3a0ec111681500"><div>
<h5>
<a class="title" href="http://grr.aaaaarg.org/txt/image/detail.php?id=51c58dd26c3a0ec111681500" title="Sage Masters of Modern Thought: Bakhtin Vol. 1">Sage Masters of Modern Thought: Bakhtin Vol. 1</a></h5>
<h6>
Michael E. Gardiner</h6>
<div class="lead">
First in a four volume set that explores the thought and legacy of Mikhail Bakthin. This is extensive and very well done.</div>
</div>
</li>
<li class="image" data-id="51c58dd26c3a0ec111691500"><div>
<h5>
<a class="title" href="http://grr.aaaaarg.org/txt/image/detail.php?id=51c58dd26c3a0ec111691500" title="Sage Masters of Modern Thought: Bakhtin Vol. 2">Sage Masters of Modern Thought: Bakhtin Vol. 2</a></h5>
<h6>
Michael E. Gardiner</h6>
<div class="lead">
Second in a four volume set that explores the thought and legacy of Mikhail Bakthin. This is extensive and very well done.</div>
</div>
</li>
<li class="image" data-id="51c58dd26c3a0ec1116a1500"><div>
<h5>
<a class="title" href="http://grr.aaaaarg.org/txt/image/detail.php?id=51c58dd26c3a0ec1116a1500" title="Sage Masters of Modern Thought: Bakhtin Vol. 3">Sage Masters of Modern Thought: Bakhtin Vol. 3</a></h5>
<h6>
Michael E. Gardiner</h6>
<div class="lead">
Third in a four volume set that explores the thought and legacy of Mikhail Bakthin. This is extensive and very well done.</div>
</div>
</li>
<li class="image" data-id="51c58dd26c3a0ec1116c1500"><div>
<h5>
<a class="title" href="http://grr.aaaaarg.org/txt/image/detail.php?id=51c58dd26c3a0ec1116c1500" title="Sage Masters of Modern Thought: Bakhtin Vol. 4">Sage Masters of Modern Thought: Bakhtin Vol. 4</a></h5>
<h6>
Michael E. Gardiner</h6>
<div class="lead">
Fourth in a four volume set that explores the thought and legacy of Mikhail Bakthin. This is extensive and very well done.</div>
</div>
</li>
<li class="image" data-id="51c58bfe6c3a0eda0b4f8200"><div>
<h5>
<a class="title" href="http://grr.aaaaarg.org/txt/image/detail.php?id=51c58bfe6c3a0eda0b4f8200" title="Bakhtin and Cultural Theory">Bakhtin and Cultural Theory</a></h5>
<h6>
Ken Hirschkop (ed.) and David Shepherd (ed.)</h6>
<div class="lead">
Bakhtin, critical theory and literature</div>
</div>
</li>
<li class="image" data-id="51c5856f6c3a0e090cef0a00"><div>
<h5>
<a class="title" href="http://grr.aaaaarg.org/txt/image/detail.php?id=51c5856f6c3a0e090cef0a00" title="A Dialogue of Voices: Feminist Literary Theory and Bakhtin">A Dialogue of Voices: Feminist Literary Theory and Bakhtin</a></h5>
<h6>
Karen Ann Hohne and Helen Wussow</h6>
</div>
</li>
<li class="image" data-id="51c5856f6c3a0e090cd51200"><div>
<h5>
<a class="title" href="http://grr.aaaaarg.org/txt/image/detail.php?id=51c5856f6c3a0e090cd51200" title="DIALOGISM, Bakhtin And His World">DIALOGISM, Bakhtin And His World</a></h5>
<h6>
Michael Holquist</h6>
<div class="lead">
A book on Bakhtin</div>
</div>
</li>
<li class="image" data-id="52176449307888af0a0002c1"><div>
<h5>
<a class="title" href="http://grr.aaaaarg.org/txt/image/detail.php?id=52176449307888af0a0002c1" title="Dialogues on Bakhtin: Interdisciplinary Readings">Dialogues on Bakhtin: Interdisciplinary Readings</a></h5>
<h6>
Mika Lahteenmaki and Hannele Dufva</h6>
<div class="lead">
A collection of papers discussing the ideas of Bakhtin and the Bakhtin Circle from an interdisciplinary perspective.</div>
</div>
</li>
<li class="image" data-id="51c58dd26c3a0ec1110b0800"><div>
<h5>
<a class="title" href="http://grr.aaaaarg.org/txt/image/detail.php?id=51c58dd26c3a0ec1110b0800" title="Dialectic and Dialogue">Dialectic and Dialogue</a></h5>
<h6>
Dmitri Nikulin</h6>
<div class="lead">
This book considers the emergence of dialectic out of the spirit of dialogue and traces the relation between the two.</div>
</div>
</li>
<li class="image" data-id="51c584186c3a0ed90bb40900"><div>
<h5>
<a class="title" href="http://grr.aaaaarg.org/txt/image/detail.php?id=51c584186c3a0ed90bb40900" title="Mikhail Bakhtin: The Word in the World">Mikhail Bakhtin: The Word in the World</a></h5>
<h6>
Graham Pechey</h6>
<div class="lead">
(book) Graham Pechey - Mikhail Bakhtin: The Word in the World</div>
</div>
</li>
</ul>
James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-36681500307974135332013-12-17T15:48:00.001+01:002013-12-17T15:48:13.961+01:00Robots - Ethics and Realities<iframe allowfullscreen="" frameborder="0" height="480" src="//www.youtube.com/embed/8zP7yP8hdLE" width="753"></iframe><br />
<br />
<br />
<br />
Robotics is the art and commerce of robots, their design, manufacture,
application, and practical use. Robots will soon be everywhere, in our
home and at work. They will change the way we live. This will raise many
philosophical, social, and political questions that will have to be
answered. In science fiction, robots become so intelligent that they
decide to take over the world because humans are deemed inferior. In
real life, however, they might not choose to do that. Robots might
follow rules such as Asimov's Three Laws of Robotics, that will prevent
them from doing so. When the Singularity happens, robots will be
indistinguishable from human beings and some people may become Cyborgs:
half man and half machine. <br /><br /><iframe allowfullscreen="" frameborder="0" height="480" src="//www.youtube.com/embed/5hO-UEcTr6M" width="753"></iframe><br />
<br />
Prominent robot ethics questions focus on liability and privacy concerns
in the face of increasingly autonomous technology. A lesser-discussed
issue is the emergence and effect of robots that are designed to
interact with humans on a social level. Studies have begun to establish a
tendency to perceive social robots differently than we do other
objects. As more and more robotic companions enter into our lives and
homes, our inclination to project life-like qualities onto robots could
have some societal implications. <br /><br />Kate Darling -- IP Research
Specialist at the Massachusetts Institute of Technology (MIT) Media Lab
and a Ph.D. candidate in Intellectual Property and Law & Economics
at the ETH Zurich -- discusses some of the more interesting developments
in the world of robot/human interaction, and where we might find
ourselves in the coming decades.James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0tag:blogger.com,1999:blog-5119236.post-57782518893828393672013-11-26T21:30:00.002+01:002013-11-27T12:01:18.005+01:00I Hear Voices (2008)<object height="50" width="300"><param name="movie" value="http://freemusicarchive.org/swf/trackplayer.swf"/><param name="flashvars" value="track=http://freemusicarchive.org/services/playlists/embed/track/55322.xml"/><param name="allowscriptaccess" value="sameDomain"/><embed type="application/x-shockwave-flash" src="http://freemusicarchive.org/swf/trackplayer.swf" width="300" height="50" flashvars="track=http://freemusicarchive.org/services/playlists/embed/track/55322.xml" allowscriptaccess="sameDomain" /></object><br />
<br />
This audio collage is constructed by myself from live radio transmissions from the 9/11 attack on the World Trade Center, from a record, How To Speak Hip, released in 1959, a cut up of George W. Bush’s 2002 State of the Union Address, the soundtrack to a Walt Disney Cartoon, a record; “MENSTRUATION: Second of Four Recordings for Parents” from 1951, an audio recording of Dr Timothy Leary, President Harry Truman’s radio message to the American people following the dropping of the atomic bombs on Hiroshima from August 9, 1945, a recording of Noam Chomsky interviewed by Ray Suarez for Talk of the Nation, January 20, 1999, and a dentist’s drill.<br />
<br />
The recording attempts to create a satirical portrait of the United States from the perspectives of global politics and state sponsored violence, sexuality and reproduction and the counter-culture (which is really part of the culture itself). At the same time it tries to unnerve and irritate the listener by its materiality, with audio samples fading in and out of each other. This attempts to provoke an hallucinogenic effect for the listener that produces confusion while also producing new combinations of words and phrases.<br />
<br />
In a single phrase; “Avoid Lower Manhattan!”<br />
<br />
This piece is influenced, and makes homage to musique contréte. Musique concrète is a form of electroacoustic music that is made in part from acousmatic sound. In addition to sounds derived from musical instruments or voices, it may use other sources of sound such as electronic synthesizers or sounds recorded from nature. Also, compositions in this idiom are not restricted to the normal musical rules of melody, harmony, rhythm, metre and so on. Originally contrasted with "pure" elektronische Musik (based solely on the production and manipulation of electronically produced sounds rather than recorded sounds), the theoretical basis of musique concrète as a compositional practice was developed by Pierre Schaeffer, beginning in the early 1940s<br />
<br />
(See <a href="http://en.wikipedia.org/wiki/Musique_concrete">http://en.wikipedia.org/wiki/Musique_concrete</a>)
James Barretthttp://www.blogger.com/profile/18305652557419755386noreply@blogger.com0