
Sunday, 24 May 2009
Free Our Books

Saturday, 23 May 2009
Monday, 18 May 2009
New-ish book (Jan 2009) on Political Myth
Here's the link for review...Friday, 8 May 2009
Thanks and goodbye
Just a quick note to say thank you for being such a good class. We've particularly appreciated your contributions to this blog. We'll be in touch soon with your outstanding marks for the year. For those of you who have exams, good luck! For those of you who don't, enjoy the summer!
Sian, James and Fabio
Thursday, 30 April 2009
Monday, 30 March 2009
Kristen's Self-analysis
I wanted to give each main character the chance to speak, so I started with Persephones mother. I think initially her character comes across as slightly weaker, missing a part of her (her daughter) that obviously seems so important. I think I showed the mothers sense of separation from her daughter a lot more strongly than Persephones concerns over missing her mother. Possibly because it can be more difficult for a parent to let go than the child, I did want this to ring through whiles I painted the picture of the mother. However when she releases herself from the tasks of caring for the earth I hoped for this to show her strength and control. She is responsible for the continuation of the earth really, so her demands for the people to fend for themselves was supposed to show how integral to the story she is, even if she appears weak at times.
Persephones character is supposed to show an adolescent girl in an undecided yet curious mind. She is concerned for her present situation, somewhere unknown, taken unwillingly, however she's willing to find out what opportunities her present situation can bring her. If she can overcome her fears and give in to the temptation of curiosity then a world of new possibilities could be opened to her.
I gave Hades a relatively small space to voice his intentions because I didn't think that his story needed an excessive amount of explination. In my retelling of this story I gave Hades a role that was more obligatory than anything else. I wanted to give the impression that his job of manning the underworld was not because he was incessently evil but that he felt that it was just 'the way the world worked'. Someone had to have the job, so why not him, and so why fight it? The more you resist the more difficult to accept it will be. This is what Hades here was to sell to Persephone, 'Don't fight being my wife, I'll treat you alright so you may as well try an enjoy yourself.' However his words and manner of speach still has an air of authority and strength showing the importance and power he has as master of the underworld. I put his words in itallics as well to show a break and change in character.
The last paragraph of speach was supposed to be Zeus. I had intended to make this paragraph bold to give the text an extra dimension that highlighted Zeus' apparent position of authority, King of Gods, and well I suppose if there was a hierarchy lets say he would be at the top. But apparently I unfortunately forgot to change the text to bold so none of you would have picked up on that but at least now I get a chance to explain. However despite this and without the bold text, I think that Zeus appears to be slighlty powerless towards the situation. Persephone ate some of the pomegranates and because of this she is bound by rule to spend part of the year on earth and another part in the underworld as Hades' wife. But again I think its shows how they choose to accept its 'the way the world works', we don't see Zeus trying to fight the fact that Persephone has to spend time with Hades in the underworld. It was also supposed to show how the Gods are dependent on the earth for certain things, kind of highlighting a slightly subtle tone of vanity among the Gods as they rely on offerings from the earth to a certain degree.
As a whole I'm not sure how inventive my story ended up as I tried to stick to a more convetional retelling of the story but I just wanted to highlight more subtle tones of emotions and possibilities by narrating the inner thoughts of these characters and I hope it came through a little in my story!
Tuesday, 24 March 2009
David Foster Wallace: Octet. Story
Sunday, 22 March 2009
The Rape of Proserpina
Bidi's Analysis
What follows is not an exhaustive exploration and I offer an open invitation to any who wish to explore my motivations further. I ask only to wait till after the exam period!
Briefly then, the tale was told as a reaction to European academia, and I also aimed it as a challenge for others who may be surrounded by that blissful state of not thinking ‘native’. Added to this was the paucity of materials on offer of ethnically diverse narratives on myth and mythmaking. Secondly I offered the tale in patois as a challenge to any to attempt to read and understand this form of communication.
During the slave trade methods of constructing units that would function and operate at maximum capacity was the prime motivator for plantation owners to maintain their economic wealth and status. Women were used as breeding stock without slave owners having to consider any form of disguise in order to carry out the practice for it to be acknowledged. In attempting to convey a legacy of myth from the bottom up so to speak, I used this language and setting which for me demonstrate how ideology, practices and narratives of myth are acted upon without the illusion of any type of filter to disguise its application. I really did not want the retelling to be another scholarly undertaking but an experience of the reality of the consequences of myth in practice not only in the past but how its legacy continues in the hear and now. The retelling invites the reader to consider through a different lens the multi layered social and lived experience of slaves.
Finally some layers: Language, politics, economics, race, religion, identity….etc. etc.etc.
Rachel's Analysis
I did not create my own material for my themes I simply pouched and edited for my own uses material that was already their, conveniently available. Some of the clips you will recognise from popular culture and perhaps previous culturally and historical assigned meaning to them. Other clips are home videos and you are able to assign your own meaning according to your own context to them. Of course it everything is always according to your own constructed context. Not all of the screams are horror but it you may think they are when placed under a certain ‘theme’.
Saturday, 21 March 2009
Why I told the story the way I did...
Friday, 20 March 2009
The self-analysis bit..
Originally, I planned to write my version from Hades' perspective. I've always felt a degree of identification with those kinds of characters, stretching right back to when I first read myths as a child. I think I've always rejected the traditional, savagely masculine heroes and king-figures in favour of more morally ambiguous and conniving characters, perhaps because they reminded me (and still do) of a lot of my own personality quirks and flaws.
The way I've tended to see it on previous readings, Hades is actually the weakest character in this story, because he needs Persephone in a way she doesn't need him. His need to control her is, to me, a sign of his own inherent weakness - it's his acknowledgement that ultimately she has no need of him. At the same time, there's an ambiguity between the two because, for all his emotional weakness, he does have the raw power to restrict her. While I wanted that ambiguity to have a role, I didn't actually run with it as far as I could or should have done. I think the reason I ultimately switched to Persephone's perspective was because I felt I could write from the stronger position through that character, and besides, it wasn't as dangerously close to home. I actually think if I'd been a bit braver and more willing to expose myself, I could have done something better.
Entailed in my empathy with this (entirely inflected and unspoken) part of the story, though, I think there's a consequent rejection of the mother/daughter love story which seems to be the major focus in most of the retellings I've seen. I wanted to portray a maternal love which is just as possessive and obsessional, because I'm afraid to say that's largely my experience.
What I tried to do with my version, and I don't think it worked, was make that (the paragraphs of crap above) explicit. I was aware that I wasn't playfully and neutrally adopting a position so much as trying to get a view back on myself from a different position, so I wanted to try and make the separation between the characters and myself intentionally vague. I wanted to make clear that it was an imaginative excercise on my part purely for my benefit and that what I was writing and thinking at the time had nothing to do with the actual story itself so much as how it related back to me. At the same time, because I knew I'd have to post it, I think I was constantly aware of the presence of a reader, and slightly worried by that, so I endeavoured to incorporate a fictional reader (who again, I think was just a reflection on myself) to highlight the artifical nature of an enclosed narrative, and futility of trying to describe a story (which is really a story about myself) in the face of someone else and their preconditions.
Finally, I think I wanted to have a go at the way I've always been told to read myths, as some kind of functional or utilitarian construct. I've always been told that that particular story serves as a parable for marriage and the conflicting emotions and ambiguous liminal states people experience, or that it's some kind of pre-scientific substitute explanation for the passing of the seasons, so I suppose I just wanted to throw in the final word that it doesn't have to be that simple or functional, and actually, I think it's much more important to indulge your own reading than to look for metaphorical explanations.
Explaining Demeter and Persephone
Demeter and Persephone, I think.
I was particularly interested in the mother-daughter relationship and the extreme closeness that holds it. I wanted to look at what happens to its intensity when it is forcibly separated, particularly when the separating force is internal and not imposed from without (as is implied in the original versions), and so in my version Persephone left of her own inquisitive impulse. I saw a lot of complexities in that movement and enormous emotional confusion, especially a kind of unrequited guilt and a certain nostalgia which is coloured by both her own complicity and the forever-irreversible nature of separation. I wanted her to have a certain agency and a power in that propulsion.
I tried to show the unspoken emotional understanding between them, conveyed almost in a physical way from body to body, particularly when the relationship is so confined and intensified, when one psyche seeks refuge in another. I hoped that it would be read not as a criticism of Demeter, whose strength I hope I conveyed, but rather as a display of the precariousness (this is complimentary to her immense strength, not in opposition of it) of her position both physically and emotionally, but more importantly, that it might pose a question about the possibility of protecting innocence. I thought it was particularly interesting to consider the processes and decisions which go into how the other, particularly a loved other, is protected. There is always a sacrifice in every decision, I wanted to show, particularly through the character of Persephone, the certain sense of inevitability with which painful decisions are made: decisions which are taken that are violent to the self, and in this case, to the mother. I think that the idea of protection is hugely difficult anyway and when it is set in a parent-child dynamic it is all the more charged, i particularly wanted to demonstrate the two-way nature of the desire to protect, and so Persephone’s pain and concern for Demeter has the same element of wanting to protect. This notion of protection coupled with guilt is explored both in Demeter and Persephone. There is a lot of guilt in my story which is associated with the power of decisions and actions and a certain empathy of how these actions resonate for others and how all of these factors do not synchronise. I wanted to question whether guilt is just futile. It is the most self-attacking of emotions, which is why I wanted Demeter’s silent conveyance of her pain and past to Persephone to be understood as inevitable and not to be judged, it wasn’t a failure on her part, rather, i thought that the emotion and intention was quite beautiful: was a strength, not a weakness. Both Demeter and Persephone have a lot of power in my story and I think that the main point is regarding the difficulty of managing that power when the desire which motivates decisions is fragmentary, this is in direct opposition to the ‘original’ which seems to suggest that choice isn’t really an issue, that it is simply a case of actions being made either in the name of the morally good or the morally bad.
I wanted to look at the creativity which can at times come out of depressive states. Of course this is already there in the main plot of the story, but the creativity of springtime in the traditional version is born of the joy which overrides the depression, whereas I wanted to show another creativity in more direct correlation with Persephone’s own depression: she created a kind of poetic counter-cycle. I was inspired in this by Julia Kristeva’s Black Sun in which she inquires into incidences of creativity from melancholia and other supposedly non-conducive states, I was particularly interested in Dostoevsky’s epilepsy which Kristeva dedicates a chapter to, and to which he infers in The Idiot. Again, i saw the creativity as testament to the strength of the characters and hope that a destructive creation wasn’t automatically branded negatively.
Myth Myth Myth
Demeter's story; notes, explanations and motivations.
My re-telling of the story of Demeter is as much about an awkward teenager forced out of his own context --by having to do work experience in an old people's home-- than it is about Demeter herself. He comes into contact with a parallel society that has been violently separated from his own, in the form of an old people's home. They seem to live lives that are similar, but somehow removed from his. Everyday tasks are transformed as in their detail into alien rituals and ceremonies.
He meets Demeter, one of the residents, and is told the story of the loss of Persephone. The factual reality of her story remains purposely ambiguous throughout, with earth-splitting etc. plausibly being metaphorical language. It also relied on the reader (the myth class) knowing the details of the myth, which were alluded to.
At the end of the story the nurse tells the boy that Demeter didn't have a daughter. Her story is real in that it comes from experiences in her life, her youth, but they have been reconfigured into a different narrative that serves a different purpose. The Eleusinians are the resident's of the home --Eleusina-- as well as being the followers of the Eleusinian mysteries, which relate to the cult of Demeter and Persephone. For both Eleusinians Demeter's story is about renewal and the natural cycles of life and the seasons. The myth still wields its power, to the extent that the question of whether it’s factually true or false is no longer the primary concern.
I also included at the head of the story an extract from the Antonio Machado poem 'Proverbios y cantares XXIX'. It is purposely not referenced or translated in faux modernist style (can you be any other type of modernist in postmodernity?).
Al andar se hace el camino,
y al volver la vista atrás
se ve la senda que nunca
se ha de volver a pisar.
In walking the path is made
And on turning one’s sight back
The path is visible that never
Will be trodden again
This seemed a pertinent motif for old age and Demeter's story, as well as the mythmaking power of the telling itself. In this narrative the idea of old age, loss of memory and fantasy came together. In the vagaries of reality, fiction and the inevitable deterioration of the body Demeter still finds meaning through narrating herself and her story, as well as providing a mythic narrative of renewal and worth for her aged co-habitants. The device of the work-experiencing boy is an attempt to highlight the utterly foreign nature of the discourse/paradigm these people inhabit. Entering into their world he sees a reality constructed around different assumptions, expectations, needs. It is this realization of utter difference, rather than an attempt to cross the divide, that serves as the boy’s revelation.
One can therefore see the story as the moralizing Myth I probably wanted it to be.
Myth Myth Myth...
Thursday, 19 March 2009
Clare's post-analysis analysis.
Playing at being a Roman poet
Wednesday, 18 March 2009
Final Question
What do you now think the object of mythology is? What is myth as an object? What does Ellwood mean when he says that 'myth was important as the bearer of the "Other"'? Do you agree? Given the sinister history of mythology is it now time to put a stop to it as a field of study? Is it 'obsolete'?
Also, remember to prepare a few words to say about your next essay, for tomorrow we'll have some case-studies brainstorming for you to have an idea of what the others are working onto.
Persephone and Demeter Myth - Holly
'Seiren' (Demester and Persephone: A Reorientation' Exegesis
From this basis I considered several differing factors: the shift in the portrayal of Persephone before her abduction and her later role as the Iron Queen of Hades, the fact that some or all of the Sirens were said to have cast themselves onto the rocks following Odysseus’ escaping of them, this second act being a denial of the one purpose given to the sisters in life after their weakness. I therefore shifted my focus from a bitterness at an unjust fate to one of incredible guilt and loneliness, and also of a perhaps requited love for the maiden goddess cruelly snatched away. The nameless siren continues to sing because it is the only thing left to her, her words are a lament of her lost love and her guilt at the inability to aid the object of her affection when she needed her most, both during and after the abduction. She reports hearing of the rescue of Persephone, but having no part in it, as if her power to act has been stripped away and she can only watch in silence, while continuing to sing.
But the siren’s singing also gives her a sense of purpose, and a purpose which prevents her from confronting the lost object of desire. Unlike her sisters, who were (in her mind) guiltless, she cannot cast herself onto the rocks because she cannot stand the thought of meeting with the one she led, unwittingly, to her destruction. As such there is a strong sense that her curse is not, in her mind, unjust: the fact she has become merely an instrument for leading others to their demise, to the palace of her first ‘victim’ has a certain poetic justice to it. The siren sees herself as cowardly and selfish, but perhaps ultimately it is that she has lost any sense of self. The nymph is no longer a person but a tool of nature, and though she can say ‘I’ she no longer has a name.
Ultimately, my ‘reorientation’ of the Demeter and Persephone myth wanted to explore the potential feelings of an otherwise voiceless character, and in doing so it excluded elements of the myth which may be conceived as important, notably the perspectives of Persephone and Demeter themselves. The siren is not a main character, but her role in the original tale is instrumental: without her, would Persephone have been in Enna to be abducted? Originally present solely in her silence, a silence which is transmuted into an endless singing similarly without words, the nameless siren has here narrated her story. An implication here is that it is, in fact, this tale that she endlessly sings from her perch atop the rocks: a tale that is and is not hers, in which, even as protagonist, she can only be a spectator. She thereby continues to sing mutedly, without a voice that is her own, bound as if by rope (seira) to her fate until the death which she knows is coming, and yet is endlessly deferred by her constant immersion in a past.
Wednesday, 11 March 2009
Tutorial Question
What can we learn from this article about the relationship between scholarship and the "invention of tradition"? How does the ‘institutionalization of forgetting’ engender tradition by manipulating the temporal dimensions of past and present and collapsing them into an a-historical history? How does ‘meaning’ become concretized into objects like ruins and literary fragments, giving ‘reality effect’ to historical narration? Are our ideals and beliefs influenced by the self-evidential power of significance of material objects or are objects always recontextualized and imbued with new meaning? (or both?) Does the process of decontextualization always imply an original context?
I suggest that you read the article extra carefully this week and that you think very carefully about the questions...
Kudos to Elizabeth for being the first to insightfully comment on her own story. As you can see its not a thousands-of-words job. I'm sure you can all manage to do it, before the end of term.
Monday, 9 March 2009
‘Demeter and Persephone: A Re-Telling’. Explained…
I also aimed at presenting my story as a fairytale. I divided it into short chapters, included a picture at the end, utilised an epistolary format to break up the block text and used LaTeX to format it so that it looked relatively professional. By deliberately trying to fashion my story into a child’s fairy tale I was trying to play with the idea that myth and folklore appear ‘natural’.
My re-telling reads more sarcastically than it reads sadly. By consciously leaving out the sorrowful themes – such as grief, separation, loneliness – I hoped that it would add more emphasis to the ridiculous nature of the compromise that Persephone is pushed into against her will. By making light of a grim plot I hoped to make the reader feel uncomfortable so that they might be forced into questioning aspects of my story.
I hope that explains my story successfully and that I have managed to make sense! I would also like to add that I very much enjoyed reading other people’s versions in all the different forms they took.
Wednesday, 4 March 2009
Tutorial Questions
What is 'inauthentic' about literary forms in the context that Stewart is writing about? What politics unerlies the separation of narrative genres into folklore and novel/literature or speech and writing? What is the 'structure of nostalgia' (p. 11) and what purpose or interests does it serve? Are the Grimm Brothers implicated in this structure? If so, how?
Thursday, 19 February 2009
No Tutorial
If you really can't wait to see me or James for some reason just feel free to email us.
Have a good weekend.
Thursday, 5 February 2009
Nationalism
DISCLAIMER: The course staff, and SOAS as a whole do not mean to support or advertise the opinions expressed in these videos and/or the individuals expressing them. The video material has been posted for illustrative purposes only.
Wednesday, 4 February 2009
Question
Do you agree with Smith’s definition of myth (p.2: ‘myths are neither illusions nor mere legitimations, they may perhaps be regarded as widely believed tales told in dramatic form, referring to past events but serving present purposes and/or future goals’). Would it apply to myths more generally or just to nationalist myths? How does it apply to his characterisation of instrumentalist approaches to the study of nationalism as a ‘myth of the modern nation’? Do you agree that the instrumentalist approach should be rejected on the grounds that it does not explain the deeper ethnic roots of nationalism or is Smith constructing yet another myth? What would this myth be?
Tuesday, 3 February 2009
ubuweb
Thursday, 29 January 2009
Wednesday, 28 January 2009
Question
In what ways do you think that scholarly demythologisation is in fact a form of mythologization? How does the difference between Jones and Newton demonstrate the difficulties that Enlightenment rationalism had with 'mythic materials'? What does this tell us about rationalism? Do you agree with Lincoln that we need to recognize discriminatory tendencies implicit in scholarship about myth?
Saturday, 24 January 2009
Tariq Ali builds on Said's analysis
Thursday, 22 January 2009
Links to Parts One of some Adam Curtis films
http://video.google.co.uk/videoplay?docid=2798679275960015727&ei=J0O2SazULpLO2QLwiYSNBA&q=the+power+of+nightmares&hl=en
Century of the Self:
http://video.google.com/videoplay?docid=8953172273825999151&ei=zIR4SYH-AYeGjAKdp6izCQ&q=century+of+the+self&hl=en
The Living Dead:
http://video.google.com/videoplay?docid=1758338679527790685&hl=en
The Trap:
http://video.google.com/videoplay?docid=404227395387111085&ei=8YR4Se_1N5PSjgKmzbilDw&q=the+trap&hl=en
Wednesday, 21 January 2009
Question
In what ways does folklore, at least as conceived by Herder, promote patriarchal scripts? Is the 'Volk' a patriarchal concept? If so, why and how? What other subtexts might there be to Herder's ideas? Finally, is Romanticism gendered and what might the implications be for our understanding of it if it is?
Tutorial Questions
Saturday, 17 January 2009
Critical Reflections (Johnathan Crary)
Much of the preoccupation with VR and cyberspace is merely a sign that we are at another of those recurring moments in the 20th century when one of the masks of political failure and paralysis is an eager avowal of the transformative force and cultural centrality of technological innovation. Many evocations of an emerging "on-line" world assume as a matter of course, or else never question, that a more or less uniform and available information and communication culture is now being installed globally. Generalizing language of the following sort is depressingly pervasive: "In the near future we may all be on-line." Beyond the curt and brutal exclusions of the words "we" and "all," this class of statement, in its sweeping untruth, resonates with both a complacent faith in the certainty of modernization and a banal anticipation of its posthistorical fulfillment. That Western patterns of technological consumption could ever be extended to a world of now six, soon ten billion people boggles the most elementary economic, not to mention ecological, common sense. The inescapable yet continually evaded truth is that participation in the emerging information, imaging, and communications technologies will never (in the meaningful future) expand beyond a minority of people on this planet. Before supposing "we" will "all" soon be in cyberspace, consider an isolated statistic: less than 20 percent of the world's population today have telephones.(1) Despite relentless claims that the new computer networks are somehow egalitarian, in the next half century somewhat fewer than that 20 percent are likely ever to have economic access to the capabilities of these systems. An argument for a higher estimate would depend on projected growth rates that are historically unprecedented and are unsupported by even the rosiest long-range economic forecasts. To avoid misunderstanding, my argument here is not for or against any given technological arrangement. Rather, it is against the fictions, mystifications, bad faith, and worse in critical analyses that ignore the immensity, and the violence, of this disequilibrium. For our new electronic communities and digital subjectivities, whatever their local value and however subversive they might seem, are also part of an intensifying process of global polarization, segregation, and impoverishment.
The cyberspace mirage of a fiber-optically unified humanity interacting electronically became a charged set of images and terms just as events in the '80s were disclosing an increasingly striated world--a world in which a mosaic of expanding populations and depleted localities has only obsolete or fractured routes, if any at all, into the planetary net of telematics. During the last few years this bifurcation has taken shape more clearly: the stream of technological breakthroughs and of structural and commercial innovations in communications, biotechnology, and image- and information-processing within certain markets and territories will coexist relatively easily with escalating social barbarism, famine, plague, and fascism. The sleek cyberdream of a collapsed global surface of instantaneity and dematerialization persists only by erasing the waking actuality of a world that is increasingly unlivable for most of its inhabitants. Some critics have celebrated the advent of an era of "generalized communication" in the belief that new technologies will open up a multiplicity of "local rationalities," a multicultural world in which ethnic, sexual, religious, and other minorities would all have voices. But such a multicentered pluralism would depend on the universalizing and impossible idea of a relatively even distribution of technological culture. Instead, we have a global division in which a small sector of the world's population is acquiring increasingly potent, supple forms of technological expression while the majority continue to inhabit radically dissimilar "off-line" spaces and temporalities (or machinic "creolizations" that will never mesh on equal terms with the most powerful networks).
//
With the growth of telecommunications and information systems in the West, Japan, and elsewhere (along with the corporate scramble to control and reorganize this arena of exchange), what used to be thought of as "consumption" is increasingly synonymous with "communication." Within this field, where "interactivity" is a new word for "shopping," it is becoming harder to distinguish effective resistance from what are merely alternate fashions of consumption. The "grand narratives" and authoritarian perspectives may to some extent have collapsed, but the new proliferation of voices, truths, and subject positions has as much to do with the logic of an electronic marketplace as with the inception of any new public sphere.
A valuable achievement of some recent work on technology has been to demonstrate how thoroughly new machinic arrangements have become dynamic components of the user's subjectivity. An emerging universe of reference and affect derived from E-mail, Internets, cellular phones, medical imaging, multimedia, hypertext, computer sex, and so on is modifying all levels of social exchange, desire, and memory, and is thus transforming a whole set of assumptions about what it means to be "human." It is not a question of a decisive rupture but rather of an incremental accumulation of habits, patterns, and relations whose sedimentation must eventually constitute an environment so unfamiliar as to effectively preclude significant interchange with those outside or remote from the spaces and temporalities of these new milieus. Nor is it a question of some new, monolithic model of the human but of a proliferation of many hybrid, often interconnected modes of subjectivity. What is crucial about the experiential nature of technological culture in the West is its layered and patchwork texture. It is an uneasy mix of new and older perceptual modalities--for example, of itineraries and durations within zones of Euclidian space continually interspersed with the shifting dimensions of digital and video simulation. Late-capitalist material life comprises immense numbers of ephemeral "micro-worlds" that are at once seamlessly connected but also piercingly disjointed.
The consequences of unequal exchange and development are manifested not only in political and economic crisis but, perhaps just as important, in the phenomenon of radically dissimilar perceptual and cognitive lifeworlds. The north/south or center/periphery split (wherever those peripheries might be) needs to be examined in terms of the psychic and social hierarchies being created by extreme disparities in the machinic arrangements that constitute everyday life. For example, some current research in the neurosciences suggests that prolonged use of new image technologies will produce physical remappings of neural connections in the brain. When one considers what is on the near horizon in medicine in terms of unequal access to new kinds of prosthetic, transplant, genetic-selection, and longevity medical treatments, the prospect is for medicobiological elites and castes of a sort unimaginable even in the most archaic premodern societies. But when faced with the possibility of a global disequilibrium heightened by such unbridgeable perceptual and cognitive divides, many, including some who champion "difference," and the idea of the human as a construction, fall back onto a "family of man" essentialism or the quasi-transcendent notion of a communicative rationality. Along with the assumption that access to communication and information technologies will coincide with emancipatory social praxis goes the idea that inner and outer peripheries both desire and will benefit from increasing technological penetration. Samir Amin and others have shown starkly how this is Eurocentrism at its worst--that is, it is a question of capitalism proposing and promoting a homogenization of the world that is structurally impossible to achieve. Once the "logic" of this process is accepted, moreover, what follows only perpetuates and intensifies unequal relations. Here is the familiar pattern of purporting to solve "underdevelopment" by emulating Western levels of modernization, even though the possibility of "catching up" is doomed from the start.
//
These fantasies of development are nourished by an acquiescence to the fictions that specific technological apparatuses are "empowering." Take the personal computer--how often we hear the legends of its hacker origins, and of its allegedly antiauthoritarian and decentralizing role. Rarely, though, do we hear that most people who use PCs do so within a regime of machinic subjection and surveillance as rigid and deadening as the most extreme Taylorist production setup. And this is hardly likely to change as the PC becomes a component of the "virtual workplace." Much critical thinking of the last decades has been nourished by various post-1968 notions that power is its own dupe, that it produces its own modes of opposition, that any space of domination always contains its own outside. However valuable these ideas continue to be, they have also deteriorated into formulaic alibis for political resignation and have led to silly overestimations of the spaces of resistance within media culture. For example, in the critique of television, most discussion is structured around themes of communication, narrative, ideology criticism, and semiotic codes. What rarely occurs is a parallel understanding of television as a set of techniques of the body, of strategies of immobilization and separation, of methods for the production and disciplining of attention, for the fixing and narrowing of the range of consciousness. Obviously television is not a system that is exercised on behalf of some consistent authority or center, but it is a powerful constellation of interlocking effects, including addiction and control. But in part because of criticism that refurbishes nostalgic notions of popular culture (posing certain kinds of TV viewing as acts of resistance, and Oprah Winfrey and Phil Donahue as facilitators of a new, participatory public sphere), some types of statement about television are effectively excluded from much critical discourse.
One of the most difficult tasks facing us today is to imagine strategies of living and acting that may well be within the terrain of the image and information marketplace but that are discerning and mobile enough to identify and elude its ever changing consumerist and productivist imperatives. Part of what is needed is to conceptualize technological culture in terms of the larger, turbulent geographies and flows in which it is embedded, and to realize that the actual and potential violence of global polarization will have more of an impact on the future of our material lifeworld than anything we assume to be internal to a process of technological change.
//
It is more and more crucial to challenge fraudulent neofuturist visions of a "wired" world. If new social ecologies (to use Felix Guattari's term) or novel convergences of the biological and the mechanic are ever to flourish independently of the market's laws of equivalence and exchange, they will emerge only through the creation of ways of listening to and learning from that majority of voices and bodies that are outside the circuits of compulsory communication and "augmented" realities.'
1. "Telecommunications," The Economist, 23 October 1993, p. 5.
COPYRIGHT 1994 Artforum International Magazine, Inc.COPYRIGHT 2004 Gale Group
Jonathan Crary "Critical reflections". ArtForum. . FindArticles.com. 09 Jan. 2009.
Wednesday, 14 January 2009
Question
To what extent do you think Tacitus' text provide German nationalists with a 'usable past'? Do they constitute evidence for a 'golden age' of ancient German nobility? Do you agree with Smith that nations need a 'golden age' and that its verifiability is necessary? How does verifiability relate to authenticity? What are some of the problems with the claims to a golden age?
Tuesday, 13 January 2009
Orientalism
Poor Edward is probably rolling in his grave dunring these troubled times.
Monday, 12 January 2009
Internet and Teaching
A WEB-EMPOWERED REVOLUTION IN TEACHING
Today when we think of the world's teeming billions of humans, we tend to think: overpopulation, poverty, disease, instability, environmental destruction. They are the cause of most of the planet's problems.
What if that were to change? What if the average human were able to contribute more than consume? To add more than subtract? Think of the world as if each person drives a balance sheet. On the negative side are the resources they consume without replacing, on the positive side are the contributions they make to the planet in the form of the resources they produce, the lasting artifacts-of-value they build, and the ideas and technologies that might create a better future for their family, their community and for the planet as a whole. Our whole future hangs on whether the sum of those balance sheets can turn positive.
What might make that possible? One key reason for hope is that so far we have barely scraped the surface of human potential. Throughout history, the vast majority of humans have not been the people they could have been.
Take this simple thought experiment. Pick your favorite scientist, mathematician or cultural hero. Now imagine that instead of being born when and where they were, they had instead been born with the same in-built-but-unlocked abilities in a typical poverty-stricken village in, say, the France of 1200 or the Ethiopia of 1980. Would they have made the contribution they made? Of course not. They would never have received the education and encouragement it took to achieve what they did. Instead they would have simply lived out a life of poverty, with perhaps an occasional yearning that there must be a better way.
Conversely, an unknown but vast number of those grinding out a living today have the potential to be world-changers... if only we could find a way of unlocking that potential.
Two ingredients might be enough to do that. Knowledge and inspiration. If you learn of ideas that could transform your life, and you feel the inspiration necessary to act on that knowledge, there's a real chance your life will indeed be transformed.
There are many scary things about today's world. But one that is truly thrilling is that the means of spreading both knowledge and inspiration have never been greater. Five years ago, an amazing teacher or professor with the ability to truly catalyze the lives of his or her students could realistically hope to impact maybe 100 people each year. Today that same teacher can have their words spread on video to millions of eager students. There are already numerous examples of powerful talks that have spread virally to massive Internet audiences.
Driving this unexpected phenomenon is the fact that the physical cost of distributing a recorded talk or lecture anywhere in the world via the internet has fallen effectively to zero. This has happened with breathtaking speed and its implications are not yet widely understood. But it is surely capable of transforming global education.
For one thing, the realization that today's best teachers can become global celebrities is going to boost the caliber of those who teach. For the first time in many years it's possible to imagine ambitious, brilliant 18-year-olds putting 'teacher' at the top of their career choice list. Indeed the very definition of "great teacher" will expand, as numerous others outside the profession with the ability to communicate important ideas find a new incentive to make that talent available to the world. Additionally every existing teacher can greatly amplify their own abilities by inviting into their classroom, on video, the world's greatest scientists, visionaries and tutors. (Can a teacher inspire over video? Absolutely. We hear jaw-dropping stories of this every day.)
Now think about this from the pupils' perspective. In the past, everyone's success has depended on whether they were lucky enough to have a great mentor or teacher in their neighborhood. The vast majority have not been fortunate. But a young girl born in Africa today will probably have access in 10 years' time to a cell phone with a high-resolution screen, a web connection, and more power than the computer you own today. We can imagine her obtaining face-to-face insight and encouragement from her choice of the world's great teachers. She will get a chance to be what she can be. And she might just end up being the person who saves the planet for our grandchildren.
To give you a reason to be interested at all in all this (as if it was necessary...): I believe that a case-study essay on the mythmaking powers of the web would be a great idea.
Sunday, 11 January 2009
Catch up
Thanks Fabio.
Wednesday, 7 January 2009
New Story
Saturday, 3 January 2009
A Question For 2009
What does Butler’s analysis of the ways in which we are selves and are constructed as selves tell us about how myths, as narrations of identity, work? How are the establishment of norms related to myth? How are norms undermined by myths? Is the failure to provide a fully reliable account of oneself an ethical failure? And finally, what does Butler’s theory of narrativity here do to Ricoeur’s account?