Archive for February, 2011

#441 – Culture Rover’s Unfamiliar Quotations

Monday, February 28th, 2011

resoundingly!

Being heard is thankfully not the same thing as being seen.

— Paul Gilroy

#440 – Culture Rover’s Unfamiliar Quotations

Monday, February 28th, 2011

mystery history registry.

A historical phenomenon, completely understood and reduced to an item of knowledge, is, in relation to the man who knows it, dead.

— Fredrich Nietzsche (courtesy Nick Bromell)

#439 – Culture Rover’s Unfamiliar Quotations

Saturday, February 26th, 2011

why teach?

Teaching often facilitates a relationship with one’s own ignorance: only by confronting the limits of my knowledge can I begin to ask questions, begin to imagine how questions will be asked of me. This is a confrontation I have learned to accept readily, as a useful practice, a gentle intellect and spiritual stretching in the safe and narrowed context of a classroom.

– Kathryn Crim

#438 – You’re Not Rid of Me

Friday, February 25th, 2011

sasha frere-jones remixes the classic critical track, “i liked the early stuff better.”

PJ Harvey. Photograph: Miles Aldridge.

Sometimes the best arts criticism takes a tired, standard-issue position and remakes it through sheer linguistic imagination. As in Sasha Frere-Jones “squint” at the new PJ Harvey album.

All he’s really saying in the review is, “the old stuff was better than the new stuff.” And he’s also saying, to some extent, “I really wanna like the new stuff.”

The brilliance of the review is that he found a way to make a what amounts to a clichéd critical response fresh. He remixed it and, in the process, made an old point anew.

Which is what, in her own way, Harvey herself is trying to do.

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#437 – Puppet Regimes

Friday, February 25th, 2011

a string theory of two recent puppet shows.

Wonderboy and choreographer Joe Goode.

The self is not an organic thing that has a specific location, whose fundamental fate is to be born, to mature and die; it is a dramatic effect arising diffusely form a scene that is presented.

— Erving Goffman

Just as choreographer Joe Goode’s use of electronic vocal effects and masks distorted the human voice in order to humanize a puppet (see CR #436), his very interest in adding a puppet itself to his dance troupe was rich with humanistic implications. For what is a dancer if not the puppet of the choreographer, a kind of dummy for the bodily manipulations of a gestural ventriloquist?

By adding a puppet to his piece, Wonderboy, Goode dramatized the question of desire in motion. He made apparent the social origins of the self, the ways in which the individual takes shape from the outside as much as the inside, from forces, often invisible, that push or pull us in certain directions, down certain paths, over to certain fates.

And yet, as the puppet himself, Wonderboy, learned to interact with those around him, as the dancers gave him life, made him animate, in a carefully-choreography bildungsroman, he also found his own story. Wonderboy became embodied, a personality, a being in the world, with feelings. Held in sway to others, he held his own.

Joe Goode Performance Group with Wonderboy.

The use of puppetry was quite different in Betontanc and Umka.lv’s Show Your Face! Their puppet was nothing more than a sack of clothes, with a hood stitched on top.

The goal of Betontanc and Umka.lv was not to humanize a puppet in order to meditate on human nature, but rather to decry the dehumanization of the individual by larger systems of power. This was a puppet on the run, panicked and scared, hunted down rather than held aloft. This puppet confronted moments of coarse pleasure among monstrous terrors, and became a new kind of invisible man, not even a man at all but rather a missing person, bullied about by invisible forces themselves seeming out of control.

There was no social self here, only a faceless bag of nothing, strung out and strung up in a rendition made chilling by the absence of even a puppeteer in charge. No one in control anymore, only a faceless, Kafkaesque series of trials, with no strings attached.

Betontanc and Umka.lv, Show Your Face!

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#436 – Vocal Discords

Saturday, February 19th, 2011

two ways of throwing your voice.

In recent visits to Chicago, both performer Laurie Anderson and choreographer Joe Goode toyed with vocal masking and manipulation, but to almost opposite ends.

Anderson performed material from her recent album, Homeland, by adding a voice-lowering effect to her voice. Taking on the role of her alter-ego, Fenway Bergamot, she created an odd distance between body and voice, appearance and sound. The result was a strange, rather disturbing dehumanization. As the audience moved back and forth between Anderson’s pixie-ish looks and the monstrous baritone emerging from the speakers, there was a sort of disembodiment. A gap or rupture burst forth in the space between Anderson’s lips and the microphone that not only amplified, but also transformed her words into electronic signals.

If Anderson became a robot, Goode moved in the other direction. His dancers performed with a puppet, Wonderboy, whose voice was created by dancers once again speaking through various electronic effects. The voice moved higher and lower, spoken by male and female dancers; it was distorted, wavering, twinkling. The effect was not a momentary dehumanization, a roboticization, of a person, as in Anderson’s performance, but rather something more like blowing human breath into the inanimate: a puppet given the gift of feeling and life. There was wonderment, a kind of breathless leap as Wonderboy’s voice gave him a body, and his chants, made real, turned enchanted.

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#435 – Positivist Negativism

Saturday, February 19th, 2011

measuring the odds.

I remain unconvinced that more always means more true.

#434 – Sing, Muse, Sing!

Friday, February 18th, 2011

music about writing is like architecture about dancing.

It’s essential to keep in mind that in poetry the music comes first, before everything else, everything else: until the poem has found its music, it’s merely verbal matter, information. Thought, meaning, vision, the very words, come after them music has been established, and in the most mysterious ways they’re already contained in it. Without the music, there’s nothing; thought, merely, ideation; in Coleridge’s terms, not imagination, just fancy; intention, hope, longing, but not poetry….

— C.K. Williams on Walt Whitman’s poetry

Ultimately, I believe, meaning has less to do with language than with music, a sensuous flow that becomes language only by default, so to speak, and by degrees…When at last the sound was right, I discovered—incredibly—that the meaning was right.

— Leonard Michaels, “My Yiddish”

They teach me a little about construction. I see what becomes of a phrase, how it is transformed or returned, sometimes bottom upward, and get some notion of the relation of keys.

— E.M. Forster on playing Beethoven piano sonatas

Music is a medium for desire that sees, tracks, or addresses our moods, but the notion that desire actually originates in the music mystifies me, though I experience it with certain poems, too, and images.

— W.S. Di Piero, “Round Time”

When the piano player improvises, he is both soloist and accompanist. Most players have to keep the left hand subordinate, to focus on the right. The great ones explore the keyboard with both hands and the music still makes sense horizontally and vertically, like a crossword puzzle.

— Toni Martin on the piano

#433 – Quantifying Public Intellect, Qualifying Public Intellect

Friday, February 18th, 2011

numb and numbered or text and textured?

Being a public intellectual is a way of cementing that public’s investment in the intellectual life. – Cathy Davidson

In her blog today, Cathy Davidson celebrates the size of the Scholars forums on HASTAC (pronounced haystack, and standing for the Humanities, Arts, Sciences, Technology Advanced Collaboratory) as an example of public intellectualism. She compares the number of readers for a typical academic book (400 she claims) to the 350,000 unique hits that the HASTAC forums has received over the last three years.

There is much to celebrate about the HASTAC Scholars forums, which have become a rich and vibrant online exchange network for ideas, responses, arguments, and debates of all sorts. But the framing of public intellectualism around size of audience made me wonder: what do we mean by the term public intellectual in the digital age? How should we qualify it as well as quantify it as we assess what we might do—or think, since thinking is a kind of doing—with all this technologically-enabled knowledge creation?

I want to be clear that I am asking these questions as a supporter of HASTAC, not as a neo-luddite or anti-digital humanities person. I am asking these questions because I am concerned about the scales and “metrics” we can easily and uncritically adopt to judge public intellectual life. Which is to ask: when it comes to knowledge and learning, what is the relationship, exactly, between quantity of participation and quality?

I do not have an answer to this question, though I do think there is ample evidence—indeed, overwhelming evidence—of the quality of intellectual interaction on the HASTAC forums. What I mean is how does the quality, not the quantity, of the public intellectual engagement on HASTAC connect to—or remain disconnected from—the public? How do we give context and texture to numerical measurements of intellectual life?

And what does Cathy mean exactly by arguing that “being a public intellectual is a way of cementing that public’s investment in the intellectual life”? Is she suggesting that the conversations on HASTAC confirm an initial public expenditure on intellectual endeavors, or is she proposing that HASTAC forums are themselves generative, inspiring public interest in the life of the mind? Or both? (I think “cementing” and “investment” are the words I am having trouble fully understanding here.)

As they always tend to in provocative and productive ways, Cathy Davidson’s blog posts addressed pressing contemporary issues. But in this case, her blog also sent me back in time, thinking about how the connection between intellectual endeavors and the shaping of public life has a long and vexed history.

One thinks of Walter Lippmann’s “phantom public,” in which experts were needed in modern, industrial society to step in and guide the common citizen  overwhelmed by access to information (and that was in the 1920s, what would Lippmann have made of the Internet!?). One thinks of John Dewey’s insistence, partially in response to Lippmann, that a kind of social democratic harmonization of the individual citizen and the mass public was possible, and that science, arts, and education (the intellect, for Dewey) were precisely the means to sing the euphonious song.

I also think of Jurgen Habermas’s work on legitimation between facts and norms, his theory of social organization potentially moving from loosely-affiliated public interactions in the vernacular lifeworld up through to governmental instrumentalizations of power in the system (one also thinks of the dangers Habermas foresaw in the growing colonization of the lifeworld by the system).

And I think of the Marxist Gramscian tradition, which pictures intellectuals as class warriors in civil society—which is to say ideological and affective fighters among both the institutions and the open spaces of public life in a democracy. Here, civil society becomes a terrain of struggle, a battle zone of positions in what Gramsci calls a war of position. In this understanding of the public, there is an ongoing competition between different social classes as they compete for hegemonic control over determining what seems like common sense to people. This is, of course, a much more conflictual model than the prior ones.

Most of all, I think of Michael Walzer’s notion of the “connected critic.” I think this might be the best model for scholarly engagement on the HASTAC Scholars forums. Of course Walzer was not thinking of being connected in the digital sense, but for lack of a better word the connection is there.

So one question, if HASTAC Scholars are indeed to think of themselves as public intellectuals, might be: how do they further articulate, elucidate, and critically engage the quality of exchange on HASTAC itself, as well as the quantity? Moreover, how can those who are participating, who have been bitten by the knowledge bug, who seek to join a lineage of specialized academic study (a monastic tradition, after all, that sought to get away from society, though always found itself wrapped up in issues of power, patronage, and hierarchy), how can they democratize their learning, share their findings, while also remaining necessarily wary, alienated, critical, and maybe even unquantifiable in their value to society? What kind of learning community would this be substantively? How do you transform 350,000 unique hits into a space of shared uniqueness?

Perhaps HASTAC Scholars might imagine themselves as gadflys among the gadgets rather than cement pourers filling in frames at the public’s feet. They are not seeking to secure an “investment” in the stock of intellectual life, but rather they might serve as in a role at once more tricky, yet also immeasurably important. They might seek to map out what it means to become not only public intellectuals, but also democratic intellectuals: active participants at the open borders of a republic of letters as well as numbers; thinkers on the edges conversing about ideas as well as crunching data; connected critics balancing individual voices and idiosyncratic views on the scales of collective digital interaction and communication.

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#432 – Oh Canada

Thursday, February 17th, 2011

vanquishing the devil down below up north.

Favorite headline:

DEVICE TO ROOT OUT EVIL FINDS A HOME IN CANADA

Dennis Oppenheim’s sculpture, Device to Root Out Evil, now working (we hope) in Vancouver, Canada.

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