I want to rattle and rent you in two.I want to defile you and raise hell.I want to pull out the kitchen knives,dull and sharp, and whisk the air with crosses.Me sacas lo mexicana en mi,like it or not, honey.
Sort of reminds me of the stereotype that Latina's are crazy. But also a complicated battle of identity between colonizer and indigenous people. Does this allude to an inner-battle being waged?
i think i heard her once and cried out of sadness and fear
This reminds me of Bloody Mary in elementary school, when a whole group of us went into the bathroom with the lights out and tried it. I love how, as kids, we all have the same experiences.
n. Arms are not given to Englishwomen either to fight the enemy or to defendherself. She must lie weaponless tonight.
This reminds me of what we're doing in history. Pro gun control vs rights. The basis of it being if people should be allowed guns to defend themselves.
. But what’s also been really important to me in the work I do, particularly since I came to OCAD, is to have a community of folks outside of the arts whom I am accountable to and who hold me accountable, so that I still grasp the material realities of life, so that I don’t go off into the rarefied space that both academia and the arts can take.
Connection: Fatona states the significance of staying grounded and accountable to a community outside of the arts and academia to avoid becoming detached from the material realities of life and to maintain a deep sense of care and support for the broader community. This conduct reminds me of the idea of information cocoon, which is a concept proposed by Keith Sunstein. According to Sunstein, information cocoons creates an environment in which people only encounter voices that express opinions and ideas similar to their own. Such an environment—in which similar content is repeated and reinforced—is known as an “echo chamber”. I strongly agree with Fatona on breaking her information cocoon by keeping in touch with people in the community outside of her specialty to get to know each other and support each other. I think this helps a lot in one's professional studies, and it allows one to learn about different perspectives and insights of people outside of one's specialty. In the academic world, especially in the arts and culture, it is especially important and helpful to break out of one's information cocoon.
The rat learns to open the other problem boxes shown in the photographs in this same hit-and-miss fashion. In Box II, he has first; to bite the string in two before he can knock up the latch (he never unties the string)! In Box III, the animal must walk up an inclined plane until the increasing tension on the string causes the latch holding the door in place to rise from its socket.
The way the rat learns how to open the boxes by "trial and error" reminds me of how us as humans learn from our mistakes. I believe it is really interesting how we learn from mistakes and this can be seen in animals as well.
it understands art as educational and uncertain, rather than polished and complete.
Connection: Hunter's idea of seeing his creative practice as a research process which initiates an undetermined ongoing conversation with others to learn together reminds me of Kameelah Janan Rasheed’s work which I read about in an article from my citation class. In “’Come Think with Me’: Finding Communion in the Liberatory Textual Practices of Kameelah Janan Rasheed” by Jehan L. Roberson, Kameelah believes the focus on process over finalized pieces of art evinces an ethic of ongoing-ness, unending conversing and interrogating a text and its infinite meanings. The texts in her works are an invitation to join her ongoing conversation with the intellectuals that she included. Her reading practice refuses all notions of fixedness. I agree with this concept of uncertainness that takes form in any sort of academic and creative practice. In my opinion, everything about the nexus of our knowledges and thoughts are unfixed. They are flowing within our works and possess the adaptability to absorb new ideas and unlearn any stereotypical false idea through this learning and exchanging process. https://web-s-ebscohost-com.ocadu.idm.oclc.org/ehost/pdfviewer/pdfviewer?vid=1&sid=43726835-c96b-47d0-b85c-1091535ebfcf%40redis
And so you're so worried that the work will be taken out of context or misread. Or someone might think that I'm an expert on a concept, idea or history, when really I'm approaching it as a student.
C: Hunter’s fear about being taken out of context or misread reminds me of Kobena Mercer’s text, “Skin Head Sex Thing: Racial Difference and the Homoerotic Imaginary,” that we read for Art Methods; because Mercer explains that he is altering his position on Mapplethorpe in order to avoid being appropriated by the alt-Right (13). Mercer returns to his own writing, embracing unknowingness and the learning process but also as an attempt control how his work is interpreted and engaged with. I think the concept of looping has the potential to address this fear, as it points to a continuous dialogue in which one can respond to their own writing but also to those who have sampled/cited it. I understand the desire to avoid being misread, especially when thinking about the vulnerability of curiosity, but I also think being taken out of context can indicate a conversation that needs to be had.
You can't solve this problem by simply working every waking hour, because in many kinds of work there's a point beyond which the quality of the result will start to decline.
Glad the author highlights this caveat. It's very easy to say "well, I'm supremely passionate about this thing, so why don't I just going to 'out work' everyone else who's also passionate about that thing?" This seems like a recipe for burnout and may result in a net loss of "work done" in the long-term.
Reminds me of the quality line/preference curve mentioned in: https://mindingourway.com/half-assing-it-with-everything-youve-got/
"They wake war's semblance" and practise military exercises
This is one of those things that makes me feel really connected to people of the past. We are more similar than we are different. It's funny to know that children in twelfth century London were playing dress up and pretending to be knights when I did the same thing with other children in elementary school. The text says that the older boys had real weapons while the younger ones had altered, less-dangerous ones. It reminds me of kids pretending large sticks were swords. The more things change the more they stay the same. Some things do change for the better though, like the end of deadly "gladiatorial combat and wild animal hunts" (Milliman 588). When I was young, a lot of kids would pretend to be knights, soldiers, cops, cowboys, pirates, you name it...so it's kind of funny to think about kids pretending to be knights in front of actual real life knights. Of course their games and costume were probably a lost more accurate to real knights than kids of the 21st century. I'm sure people back in the twelfth century had a problem with kids playing "violently" just as people do nowadays. How much have we heard about video games making kids violent, or that Nerf shouldn't make guns, and so on and so forth. Regardless if you agree or disagree with these sentiments, it's clear this train of thought is not new. I also like how the younger boys had spears with no tips. Even though one day they may have grown up to be real knights or gone off to fight in a war, their parents still made sure to keep them safe as they possibly could which I find adorable. Nowadays parents put a helmet or knee pads on their young athletes. I hate when people spout the rhetoric that no one loved their kids back then, because they often died of disease so they had a bunch just in case. This idea couldn't be further from the truth. People back then were so much like people today.
“Tm not black, no matter what you say, Piri.”
Well, this part reflects the ignorance of many people who, despite having a darker skin color than the majority in their country, do not consider themselves "black." For example, many Dominicans, when asked if they are black, say that they are not. which reflects not only that many people prefer to lie to themselves in the hope of escaping their own reality. it also reminds me of this video https://youtube.com/shorts/gtAS_yhH2XQ?feature=share
In those sombre forests of his striving his own soul rose before him, and he saw himself,—darkly as through a veil; and yet he saw in himself some faint revelation of his power, of his mission. He began to have a dim feeling that, to attain his place in the world, he must be himself, and not another. For the first time he sought to analyze the burden he bore upon his back, that dead-weight of social degradation partially masked behind a half-named Negro problem. He felt his poverty; without a cent, without a home, without land, tools, or savings, he had entered into competition with rich, landed, skilled neighbors. To be a poor man is hard, but to be a poor race in a land of dollars is the very bottom of hardships.
I think the story can be related in every fashion to many Black peoples up bringing, but I wonder how much it mirrors Du Bois time growing up having these realizations? It reminds me of Henry Adams writing his piece about himself in the third person.
Congress was reluctant to levy taxes. Instead, it borrowed money by issuing bonds. It also printed money, resulting in terrible inflation. The worthlessness of Continental currency inspired the phrase, "not worth a Continental." It became more difficult to get people to lend money. By 1779 and 1780, Washington's army had to confiscate supplies in order to feed and clothe itself.
This entire area is just kinda yikes. It feels less freedomy if they have to confiscate peoples stuff. Reminds me of the inflation of german currency after the world wars where they had to burn money for fire because it was cheaper than buying wood.
By looking at enough data in enough different ways, you can find evidence for pretty much any conclusion you want. This is because sometimes different pieces of data line up coincidentally (coincidences happen), and if you try enough combinations, you can find the coincidence that lines up with your conclusion.
This reminds me of the pandemic and the conflict over the danger of Covid-19, masking, and vaccinating. To "match" their beliefs/arguments, sometimes people would do this: find evidence for any conclusion they wanted. That's shows why finding correlations in data can be pretty risky.
But what qualities and characteristics these spaces must offer have been inconsistently interpreted. Thus public space has served as a great new incentive—not to be “public,” however, but to satisfy far more profit-motivated market objectives.
Connection: This situation of lacking qualities and characteristics within the newly built public space and it is being served as incentive for more profit-motivated market objectives instead of for the public, reminds me of the museum boon phenomenon in China, in which the local government funding to build these museums not really for its content that can engage the public; it’s more about using it as a tool for real estate development to get themselves more benefits like promotion or more funding. I used to think this kind of issue was confined solely to the Chinese soil, and while it’s true that the problem is most prevalent and serious in China, I now realize that this predicament transcends borders and is, in fact, a pervasive challenge within the art industry on a global scale. It necessitates a reevaluation of our approach to public spaces and art institutions worldwide, emphasizing the enrichment of society over profit-driven motives. https://www.dezeen.com/2015/12/11/new-chinese-museums-construction-boom-opening-money-cant-buy-culture-china/
the temporary is important because it represents a provocative opportunity to be maverick, or to be focused, or to be urgent about immediate issues in ways that can endure and resonate.
Connection: When Phillips states the importance of temporary Public art because of it's ability to allow artists to respond to a timely issue it reminds me about what Boris Groys outlined as entering the flow of time in his article. Temporary Public art would have a beginning and end while speaking to an "immediate" issue.
ONE BASIC ASSUMPTION THAT has underwritten many of the contemporary manifestations of public art is the notion that this art derives its “publicness” from where it is located. But is this really a valid conception?
latforms also collect information on how users interact with the site. They might collect information like (they don’t necessarily collect all this, but they might): when users are logged on and logged off
This section reminds me of the Ashley Madison, the site designed for married people to cheat on their significant others, data breach. Even the fact that the user decided to sign up can be used to infer much and most likely fueled a lot of divorces when the "list" was released.
experienced users would “troll for newbies” by posting naive questions that all the experienced users were already familiar with. The “newbies” who didn’t realize this was a troll would try to engage and answer, and experienced users would feel superior and more part of the group knowing they didn’t fall for the troll like the “newbies” did.
That reminds me of "the chain of contempt," in which people look for ways to put themselves in superior positions to enjoy looking down on others, especially on the internet, where users mostly wouldn't be held accountable for their actions. Trolling relates to the discussion of whether the internet is real or fake. I think it's phony that people might not act this way in real life, at least not as direct, while it's real because people unleash the dark side of humanity online.
the end of anti-blackness would mean the end of the Human world as we know it.
This is an interesting perspective on how a pessimistic standpoint has ontological implications. It reminds me of what we read from Robert Reid-Pharr and Ersula Ore--both arguing a primary concern of grappling with the "anti-" as a foundation of controversy.
One of the most widespread misunderstandings involving anger expression is the catharsis myth; many people believe that releasing anger via venting, physical actions, or writing is a healthy coping mechanism, despite a wide array of research stating otherwise (Lohr, Olatunji, Baumeister, & Bushman, 2007; Bushman, Baumeister, & Phillips, 2001). Bushman (2002) showed that venting was actually counterproductive, as it caused people to further ruminate about their anger rather than move on. Similarly, one study showed that anger actually increased when those listening reinforced participants’ venting behaviors, and decreased when the angering situation was reinterpreted by others (Parlamis, 2012). Additional research has shown that venting can be a healthy coping skill, but it must be used in a way that allows someone to release his or her anger and take a problem-solving approach to finding a solution for the cause of the anger. Nils & Rimé (2012) found that venting was only an effective coping method for dealing with anger when the person on the receiving end engaged in cognitive reframing directing the angered person toward problem-focused solutions
Reminds me of Boeddism and the work of Thich Nath Hanh
He belongs to a friend of mine who wants todrop him off away from all these Isles becauseof the too strong habits he has here.
While Sierra.nishimura rightfully points out the dehumanisation of enslaved peoples by the slave traders in the case of Tousaint here, his name and the fact that he is labelled being problematic reminds me of the similarly named Toussaint Louverture (1743-1803) who would go on to lead the Haitian Revolution (1791-1804).
Many enslaved peoples resisted the system which oppressed them and would go on to be labelled as either "troubled" or "difficult". I imagine that with the urgency that these slave traders push the sale of Tousaint would suggest that he is an example of one of the enslaved peoples who actively resisted his enslavement.
Afterward, Mr. Eisen began to search for any evidence that @Sciencing_Bi had been a real person. He could not find any. “The combination of the weird things that were happening on the call and looking at the tweets and seeing how much they circled BethAnn, it just became obvious to me,” he said. “‘Oh, [@Sciencing_Bi] is BethAnn.’” The Anonymous Professor Who Wasn’t - The New York Times
This incident reminds me of how people will pretend or even in some cases, claim, to be a race that they definitely aren't. People change their race because of romanticizing, sexualization, aesthetics, etc. On the internet, people has gone as far as allowing certain hobbies or interests to be for certain races and entertaining the idea of "race-fishing" to seem more appealing or interesting.
How do you notice yourself changing how you express yourself in different situations, particularly on social media? Do you feel like those changes or expressions are authentic to who you are, do they compromise your authenticity in some way? { requestKernel: true, binderOptions: { repo: "binder-examples/jupyter-stacks-datascience", ref: "master", }, codeMirrorConfig: { theme: "abcdef", mode: "python" }, kernelOptions: { kernelName: "python3", path: "./ch06_authenticity" }, predefinedOutput: true } kernelName = 'python3'
The phrase context collapse reminds me of in- and out-groups in sociology. In-groups hold superiority and individuals usually belong identify with, while out-groups are the lesser or different group and treated inferiorly. This happens so often, especially with adolescents and wanting to fit in more. It's relatable because everyone's felt the need to adjust to a group to fit in, especially to minority groups because of the need to code-switch.
When the window opened once more, this time the ball was there. Catch.
This reminds me a of a similar childhood experience where I got a hockey stick sign by a team of hockey players at the age of six.
And then I floor it.
I don't have a good feeling about this. it reminds me of what happened to his brother
The breaks between the lines of these hammer songs coordinated thecomplex movements of drilling. The hammer came down at the end of theline, forming what would decades later be called a backbeat. Sometimes itwas the hammer man who sang, telling his partner with his rhythm andlyrics when the next blow would come.
This reminds me of scenes in movies where people will sing while hammering nails in railroad tracks or how people rowing a boat may sing to stay in unison. It's interesting how music functions in our lives.
When your son loses hismittens, you suggest he retrace his steps; that’s back-tracking
This reminds me of the everyday process of losing my keys only to recreate in a theatrical aspect every step I have taken to rediscover them. I really like the metaphor at use here for explaining how computers think.
Computational thinking is using massiveamounts of data to speed up computation.
This statement reminds me of the lessons I teach my students year after year to a degree. We teach new mathematical concepts each year to students in hopes of helping them connect the dots for further for more complex problems. By teaching little skills along the way, the computation for bigger problems can be done with ease for students.
Zadie Smith talks about writers as micro-planners and macro-planners and I would say I’m more in the school of macro-planners. While my script will undergo significant re-writes, each revision builds off of one another in a more linear fashion, not at all like the micro-planner approach which reminds me of old-fashioned paper dolls with lots of options that are interchangeable.
not sure you need to bring smith into it. image someone outside our class reading this paragraph. wouldn't they wonder why you're suddenly talking about zadie smith?
culturally inappropriate for what she was trying to accomplish.
This reminds me of how many culturally significant books are banned from American literature, in my opinion, as a way of silencing and continuing to hide the dark truth well hidden within history.
What’s more, we can see that the Android tweets are angrier and more negative, while the iPhone tweets tend to be benign announcements and pictures. …. this lets us tell the difference between the campaign’s tweets (iPhone) and Trump’s own (Android).
After reading this, it reminds me of a similar situation in the TicTok. Some people recently found that woman and man could see totally different comments according to the same posts, which definitely narrow down what they can see and know on the internet. I believe it will make people become trust what they wanna trust more and more and ignore other people's perspectives.
AI Used to Resurrect Video Game Voice Actor in ‘Cyberpunk 2077’ Universe
When first reading this title, I found it pretty creepy and scary that this is even possible! It reminds me of the holograms of artists like Tupac I've seen used in concerts.
Friction is anything that gets in the way of a user performing an action. For example, if you have to open and navigate through several menus to find the privacy settings, that is significant friction. Or if one of the buttons has a bug and doesn’t work when you press it, so you have to find another way of performing that action, which is significant friction.
This part of the reading reminds me of tiktok. When you want to create a video instead of simple editing tools you have to use greenscreen filters, or other modes and such to make a good tiktok video, like overrall they don't have simple tools and options to use, you literally have to go through different methods.
One famous example of reducing friction was the invention of infinite scroll. When trying to view results from a search, or look through social media posts, you could only view a few at a time, and to see more you had to press a button to see the next “page” of results. This is how both Google search and Amazon search work at the time this is written. In 2006, Aza Raskin invented infinite scroll, where you can scroll to the bottom of the current results, and new results will get automatically filled in below. Most social media sites now use this, so you can then scroll forever and never hit an obstacle or friction as you endlessly look at social media posts. Aza Raskin regrets what infinite scroll has done to make it harder for users to break away from looking at social media sites.
This infinite scroll ability also reminds me about how game development has evolved. 8-bit and point-click games also couldn't show more than one scene at a time, and from which developed side-scrollers, platforms, and eventually open-world, which is almost infinite in terms of possibilities and choices, similar to how social media works today.
For one thing. the interviewer was morehighly sensitized to what he saw than what he heard. The importof what had been said to him, and duly recorded in his reports,had somehow escaped his attention.
when considering the various forms of media/spreading information, it seems like individuals are more desensitized to real life traumatic situations when they hear about it rather than when they actually see it. It's almost as if people question the crisis in discussion, unless they are shown proof.
It kinda reminds me of police brutality disturbances and how it's not until someone posts a video of a cop being racist, that people actually become sensitized to the situation at hand.
Graffiti and other notes left on walls were used for sharing updates, spreading rumors, and tracking accounts Books and news write-ups had to be copied by hand, so that only the most desired books went “viral” and spread
American's news sources being centralized in just a few sources likely goes against a few ethical frameworks because they were biased. It's definitely harder to tell what's true or false. I don't know why I was surprised that newspapers and pamphlets were full of rumors and conspiracy theories, but now that I think about it, it's true, just slightly different types of rumors. It reminds me of when radium was discovered by Marie Curie. Everyone was raving about it and all its health benefits, especially in the news and advertisements, when it was actually cancer-causing.
Later, sometime after the printing press, Stondage highlights how there was an unusual period in American history that roughly took up the 1900s where, in America, news sources were centralized in certain newspapers and then the big 3 TV networks. In this period of time, these sources were roughly in agreement and broadcast news out to the country, making a more unified, consistent news environment (though, of course, we can point out how they were biased in ways like being almost exclusively white men). Before this centralization of media in the 1900s, newspapers and pamphlets were full of rumors and conspiracy theories. And now as the internet and social media have taken off in the early 2000s, we are again in a world full of rumors and conspiracy theories.
If you think about American's news sources being centralized in just a few sources in terms of ethics. I don't know why I was surprised that newspapers and pamphlets were full of rumors and conspiracy theories, but now that I think about it, it's true, just slightly different types of rumors. It reminds me of when radium was discovered by Marie Curie. Everyone was raving about it and all its health benefits, especially in the news and advertisements, when it was actually cancer-causing.
These fragments I have shored against my ruins
Some thinking out loud here: this line is rather eye-catching as it is wedged between a conglomeration of lines from other texts. The only parts of the stanza that aren't directly "snatched" from another source are several lines above: "I sat upon the shore / ... / Shall I at least set my lands in order?" From this, a close reading would be most helpful to understand the overall conclusion of the poem.
Firstly, "these fragments" seem to be less cryptic than the rest of the poem: the narrator refers to the lines from other texts—Dante, De Nerval, Kyd, Hindu philosophy, etc.—that precede and follow this line. "Shore," however, has a double-meaning. The first line of the stanza describes the narrator sitting upon a shore (noun), yet the narrator is also shoring—or supporting something (often by holding it up) that would otherwise fail/topple. The fragments are being shored—they are being saved, in a way, from decline or irrelevance; in fact, they already have ("I have shored"). To recap: at the same time that the narrator is "fishing" "upon the shore," the narrator is "shoring" the fragments. The narrator shores these fragments by fishing them out of water; they are saving them from water. Perhaps they are saving them from drowning by fishing them out.
This reminds me of two text references: one, the man at the bottom of the lake in Marie Larisch's "My Past," who "will return" from the bottom of the lake by rising from the dead. In a way, these fragments may be rising from the dead, too, thanks to the narrator. Secondly, from today's reading, the Weston analysis of the Fisher King, who has a "devotion to the pastime of fishing." The text contains a lot of important information, but I see the Fisher King as having two important characteristics. One: "the guardian of the Grail bears the title of Fisher King." This relates to the "third figure," like the "third officer" Shackleton was, whose job is to be a guardian in the first place. In this thread, the Fisher King represents a "third figure" of sorts. The Fisher King looks after—or guards—the Holy Grail, an object that grants immortality to the user. Thus—the Fisher King bars anyone from achieving immortality and constrains everyone to the inevitability of death. This can align with a second description of the Fisher King, toward the end of the Weston text. The Fisher King is
not merely a deeply symbolic figure, but the essential centre of the whole cult, a being semi-divine, semi-human, standing between his people and land, and the unseen forces which control their destiny.
The Fisher King plays an intermediary role—he connects the mortal with the divine; in a way, connecting life and death. Life and death can be thought of as two sides of the same coin (in other words, if death didn't exist, then the conception of life wouldn't exist as well). By ensuring death, the Fisher King ensures life in turn—and vice-versa. If this narrator is the Fisher King, or someone akin, then the "fragments" being saved may be the fragments of life itself.
The final part of this line is "against my ruins," and the idea of "ruins" is mentioned numerous times in today's reading. The ruins are not the same as the fragments—they are not being supported, or upheld—but instead, the fragments are being saved against them (in contrast, or opposition, to them). Most notably, "ruins" are mentioned in the De Nerval text:
... the prince of Aquitaine, his tower in ruins...
Notably enough, this quote (in French) comprises the line exactly above this one. The ruins themselves are those of the tower, which reminds me of the Tower tarot reading. The Tower tarot foreshadows "massive change, upheaval, destruction and chaos" (Biddy Tarot). So, in spite of—or in opposition to—this massive change, destruction, and chaos, these "fragments" have been shored up; they have been fished out; they have been saved and preserved. The destruction in question may refer to many things—it may refer to that of WW1, or the decline in religious piety, or the destruction of nature in favor of urbanization (or all three of these). From this destruction are fragments—represented by the lines of text from other sources—that save the core principles of human life. Going back to the Fisher King analysis, what is saved may be the cycle of life and death. Though urbanization and war seem to defy this cycle (the ability to construct and destruct by one's own accord), the Holy Grail is still protected.
Other notes I don't have the space to mention: connections to the illusion of life by Bradley; connections to the idea of memory (preserving memory) from Webster; the idea of planting and eating vegetation; The Golden Bough.
prison
The recurring images of a prison in TWL and its associated sources are compelling. First, this instance of prison under Dayadhvam (be compassionate) appears to be a self-imposed imprisonment, specifically because "each confirms a prison" when only when "We think of the key". It reminds me of Geronition, when there are repeated images of "Tenants of the house" that alludes to the idea of the narrator being trapped in the mere construct of their own mind. The other instance of a prison is TWL's line 325-327 – "The shouting and the crying / Prison and palace and reverberation / Of thunder of spring over distant mountains". If one were to read through the enjambment between line 325-326, one could interpret the prison being the shouting and crying subject, thus personified. This leads me to wonder whether the idea of imprisonment is indeed a mere symbolic illusion, rather than something concrete and inert. This connects to Eliot's note for the line above, in which he connects Bradley's Appearance and Reality, specifically the line "In either case my experience falls within my own circle, a circle closed on the outside; and, with all its elements alike, every sphere is opaque to the others which surround it." The idea of "a circle closed on the outside" invokes the idea of a closed off separation, which is what a prison likewise achieves. The sphere's opaqueness also adds to this confinement. However, I suppose there are occasional instances where one can break from imprisonment. In this section of TWL, "the key" acts as the vehicle to unlock this prison; perhaps this act of turning the key adds to the state of being compassionate. In Dante's source "... until the next day’s sun came forth upon the world. / some few rays had made their way / into the woeful prison", implying the ability for the external to still seep into the internal despite such confinement. As these sun rays are able to defy the rigid prison, maybe this source of light is "the key" that unlocks "a prison" that is confirmed "Only at nightfall". As Brihadaranyka also wrote, "What truth is, the sun is." Perhaps truth is the key to unlocking the illusions of one's mind as depicted in Geronition.
As he rose and fell
Though this section appears much more concise than the rest, I believe its brevity alludes to something greater, specifically the grand, infinite cycle of change through time. Death, evidently, is a natural stage in life. Though usually interpreted as the end of something, occasionally, and generally in TWL, death represents the beginning of something new. Thus, as Phlebas' death is portrayed in this scene, some part of him still lives on, as this corpse "passe[s] the stages of his age and youth / Entering the whirlpool", retracing moments of his life in a supposed afterlife. What's interesting is that Phlebas is still the subject of this action despite proclaimed dead. Though, "A current under sea" technically is the actual subject in charge of his corpse's motion, Eliot decides on sticking with "He" as the subjective noun, perhaps emphasizing the significance of humanity and its course. However, I believe nature still prevails over mankind. Pheblas "rose and fell" only because of the "current under sea"; without the sea's motion, this corpse would remain static. This theme is corroborated in multiple sources – Dante's "a whirlwind that struck the ship head-on" shows natural force over a mere manmade construct; De Quincy's depiction of "the treacherous sands gathering above [a woman's] head, so that "no memorial of the fair young girl remained on earth".
Phlebas' rising and falling in the sea also reminds me of the references to motion and time in the sources. De Quincey's "from the rising to the setting sun" and the plot's progression over a storm at sea till dawn evokes the image of nature's cyclic continuity. Tennyson's "every hour is saved / From that eternal silence, something more, / A bringer of new things" further alludes to vitality (new things) that comes with time (every hour). Nature and mankind seem intertwined; their motions reflect each other. Or perhaps, nature actually determines human motion and status. As the sea is the one acting in this section, it wouldn't be a stretch to say that this body of water has committed acts, including death. I'm starting to think that the "by" in "Death by Water" is not a preposition that alludes to a location, but rather identifies the agent performing an action.
To extract Western truth from the "foreign" territory of the East is to ask how Western that truth really is and how true it is, after centuries kept in the hands of others.
I never knew this was an anxiety. I, somehow, naively assumed that the people who colonized an area and justified the colonization due to the inferiority of the people would then not call into question the legitimacy and authenticity of the texts they stole. It reminds me of Edward Said’s *Orientalism— the idea that we need Western academics to explain the intricacies and nuances of Middle Eastern culture because Middle Easterners can’t do this work by themselves— the same general distrust that plagued the documents “discovered” by Western archaeologists is the same distrust criticized in Said’s work.
new textual discoveries, and the rising influence of text criticism (the academic study of the Bible that addressed its history of production and transmission).
I wonder if new versions would be influenced by the social context that the new version was created in, such as in the 19th century, when the Revised Version was created. This reminds me of the form criticism and criteria approach we talked about. I assume the present circumstances could shape this new Revised Version's translation.
materialize at different extents in different ways um that sort of reduction of value something i've been thinking about you know in in particular in encumbrance um 00:52:33 and and uh but i think it's also you know at play to a certain extent in discouragement because you know as thomas was sort of saying given certain events 00:52:46 um the dissolution of the trust also sort of dissolves the you know the moment's claim to this piece of cultural production there's not really a 00:52:59 thing there anymore once it's no longer active um so uh yeah so that that kind of uh way even though it's it's sort of this measuring tool 00:53:11 and it and it is attending to these questions of corporate redistribution um i'm also trying to think about you know the property relations that are at play within the
This idea of trust and "the Moma's claim to this piece of cultural production" reminds me of the Andrea Fraser reading where she questions the kinds of individuals behind these institutions and whether or not they should be the ones having a say or choosing the kinds of art/culture that will be exhibited.
Our elders taught that the relationship between plants and humansmust be one of balance
Def The idea of balance is important. Reminds me of the way we must live now. We are harming our earth by taking too much resources from it.
The basket makers had given us the pre-requisites of the scientific method: observation, pattern, and a testablehypothesis
They had been taught that harvesting causes decline. And yetthe grasses themselves unequivocally argued the opposite point
Reminds me of the "Contrary to what you have learned in class" from the reading we were assigned.
“I honor that traditional relationship, but Icouldn’t ever do it as part of an experiment
interest it would generate for us
This reminds me of. a case that interests me, a white photographer found a beautiful girl in Afghanistan while she was in school. He asked for her and in private took photos of her eyes and face, they blew up and got on the cover of vogue. However, the girl, shamima begam, had not given consent for that with the fact that in afghan culture it is impermissible to be with a man outside of the family alone. The man became renowned for the picture and shamima received no compensation, in fact since her face was so popular she was deported from Pakistan where she took refuge. Any sense of ethics would deplore this act by the man but alas, it was a terrible situation for shamima. I feel as though with ethics, there lies many factors and factors of balance that are missing. The man and shamima were not on equal footing at all, he was a white man with power, and she was a "subaltern".
One classic example is the tendency to overlook the interests of children and/or people abroad when we post about travels, especially when fundraising for ‘charity tourism’.
This example reminds me of a recent Facebook PSA the local police department posted regarding parents posting images of their children going back to school. There is a trend of having children hold up signs with sensitive data, like age, name, school, interests, which may be extremely dangerous if landed into the wrong hands. To the parent, it may seem like a way to immortalize the moments of back-to-school with other friends and family who could not be there in-person to support (the preferred course of action); however, they are overlooking the bit of truth that some people are predatory out there and that makes utility calculus a bit more complicated.
This can be especially important when there is a strong social trend to overlook certain data. Such trends, which philosophers call ‘pernicious ignorance’, enable us to overlook inconvenient bits of data to make our utility calculus easier or more likely to turn out in favor of a preferred course of action.
The notion of considering all data sets and perspectives reminds me of our discussion about different ethical frameworks and our exercise in considering each one when approaching an ethical dilemma. It's interesting that utilitarianism seems to be the most logical framework to approach data as opposed to something like Taoism, which might be less relevant in considering data because it's not as quantitatively focused as utilitarianism. Just an example of how different frameworks can be applied to different situations.
for a country name (string), have a pre-set list of valid country names
I am interested in the way this restraint may possess innate biases regarding geographical disputes. This particular restraint reminds me of the way digital maps provided by Google and comparable corporations have the possibility to present politicized visual depictions of the world, particularly during times of conflict.
hat pieces of information you think should be immediately visible to use
This question reminds me of a discussion I had with a friend regarding dating applications and why they mostly do not work. Part of it is very much related to the pieces of information we are unrestricted to share on dating platforms. This friend observes a pattern of guys writing things like, "where are the good women at?" as the sole piece of textual information being shared on the platform. Looking at that, there is not too much that tells me about the person's hobbies, interests, values, or anything else that would be important in dating. If I were the designer of a dating platform, I would implement lists of answers to describe more relevant information.
Loveliness extreme.
The line "Loveliness extreme" from "Sacred Emily" and its exploration of the theme of beauty and aesthetics reminds me again of The Sandman as it often explores the idea that dreams and stories have the power to shape perception and reality. The concept of "Loveliness extreme" can be seen as reflecting the idea that the beauty and aesthetics within dreams and stories can be so powerful that they transcend ordinary perceptions.
Rose is a rose is a rose is a rose.
The idea of repetition and the symbolism with them being different throughout the poem really reminds me of the symbolism in The Sandman with the different siblings Dream has and what they represent with the line Rose is a rose is a rose is a rose.
Color mahogany. Color mahogany center.
Reminds me of this painting called "Mahogany" this line is very visually stimulating (https://images.fineartamerica.com/images/artworkimages/mediumlarge/1/mahogany-samuel-pye.jpg)
Night town.
Reminds me of this painting where everything is very peaceful, I was interested in the next line which suggests it's fragile (made of glass?) (https://i.pinimg.com/originals/24/f3/e1/24f3e1b9fd2f3e28fbab1efc9671af8d.jpg)
Henry Henry Henry. A hand is Henry. Henry Henry Henry.
The repetition of the names reminds me of the poster for being john malkovich (https://musicart.xboxlive.com/7/49631100-0000-0000-0000-000000000002/504/image.jpg?w=1920&h=1080
Noisy pearls noisy pearl coat.
the mention of pearls as coats reminds me of someone wearing pearls like a coat and they are flashy and loud.
Wearing head.
The poem seems like it is a list of the ways wives perform perfection. This line reminds me of the essence of the phrase coined by RuPaul "you're born naked and the rest is drag" as if wearing a head as a mask.
Push sea push sea push sea push sea push sea push sea push sea push sea.
The repetitive rhythm of this line reminds me of the literal push and pull of the sea.
the "body of Jesus" novel, in which the (theologically problematic) corpse of Jesus is sought, or sometimes even recovered.
I do not understand the obsession with trying to find the corpse of Jesus. It reminds me of how throughout history, people have gone into the pyramids of Egypt in order to find mummies and the bodies of royalty just to put them in a museum and display them for years and study to come instead of leaving them in their final resting place. I can't help but think that if Jesus' body was to be found, this same concept would happen instead of letting the body rest because there would be people who would want to see the body.
"western" biblical materials from "exotic" lands;
While not necessarily related to the Da Vinci Code, this reminds me of the Indiana Jones series with the famous line being "it belongs in a museum". It makes me question the justifications provided by museums and individuals for claiming cultural and historical artifacts as "exotic" and putting them on display for people to see.
Seeing the international representation on the field reminds me of the ways that Americans, though from many different backgrounds and places, still come together under common ideals. For these reasons and for the whole experience in general, going to a Major League Baseball game is the perfect way to glimpse a slice of Americana.
The author talks about how and why going to a major league football game is perfect way to
Seeing the international representation on the field reminds me of the ways that Americans, though from many different backgrounds and places, still come together under common ideals. For these reasons and for the whole experience in general, going to a Major League Baseball game is the perfect way to glimpse a slice of Americana.
the author talks about how he believes going to a major baseball game is the perfect way to get an insight on america.
Seeing the international representation on the field reminds me of the ways that Americans, though from many different backgrounds and places, still come together under common ideals. For these reasons and for the whole experience in general, going to a Major League Baseball game is the perfect way to glimpse a slice of Americana.
Seeing several teams from different countries, he remembers why he is American and how proud he is to have been born in that country.
endless plains of volcanic rock make it feel like you're on another planet
Reminds me of the video for Björk's 'Jóga':
the tall avocado tree right by your kitchen door,
Looks like grandma lives in the countryside. it reminds me when i go back to my country that we have a lot of avocados and mango.
But long before the ad-vent of that professional species—the curator—and not letting upin the face of its spectacular rise, each found a way to lay bare andcounter some of the implicit and most stalwart expectations of theexhibition as such.
Connection: It reminds me of this movement in 1980s China.
urating is curing. The process of curating curesXLIMQEKI ́WTS[IVPIWWRIWWMXWMRGETEGMX]XSTVIWIRXMXWIPJ8LIEVX[SVORIIHWI\ternal help, it needs the exhibition and the curator to become visible. The mediGMRIXLEXQEOIWXLIMQEKIETTIEVLIEPXL]°XLEXQEOIWXLIMQEKIPMXIVEPP]ETTIEVERHHSWSMRXLIFIWXPMKLX°MWXLII\LMFMXMSR²
CP: This footnote reminds me of this piece by Kent Monkman http://casualtiesofmodernity.com/our-facility.html "In Casualties of Modernity Kent Monkman invites us to enter a room in the Modern Wing of a hospital specializing in the treatment of conditions afflicting Modern and Contemporary Art."
As with writing,so it is with exhibition making, with some curators and art institutionsinvested in the appearance of a zero degree of the exhibition and the pre-tense that the artwork selection, organization, dramaturgy, and discursiveframework could not have been otherwise, as if their choices representthe un0appable truth of History, instead of one possible reading amongmany.
Connection: This reminds me of the conversation Daniela has been raising regarding wall texts. Wall texts present as an authoritative reading of the exhibition and can limit the opportunity for divergent interpretations to emerge.
extremely disordered because they almostPage 3never see The missionary.
This reminds me of many other documents that I have read where settlers or missionaries share their accounts on indigenous people. This idea that the indigenous people are "disordered" and lack the conduct with which European people act, places the indigenous people again in the trope of them needing saving by the missionaries. Maillard also makes it seem like they have their work cut out for them in working to convert the indigenous people.
The Dictionary data type allows programmers to combine several pieces of data by naming each piece. When we do this, the dictionary will have a number of names, and for each of those names a piece of information (called a “value” in this context).
It reminds me of what I learned in CSE122. Dictionary data type is similar to a data type in JAVA called Map, which also allow programmers to combine several pieces of data by naming each piece. Because of those similarities, it helps me better understand what I learned in this book.
But now the stark dignity of entrance—Still, the profound change has come upon them: rooted they grip down and begin to awaken
This reminds me of what it is like to experience a metaphorical winter in one's life--to grit your teeth and get along with things.
valleys, its deaf-mutes, thieves old names and promiscuity between
The poem's form reminds me of Pound's "In a Station of the Metro." There isn't a clear pattern of rhymes. Although each stanza has 3 lines, I don't think the poem follows a strong metrical scheme. Also, there's no punctuation to separate the beginning and end of sentences.
with gauds from imaginations which have no peasant traditions to give them character but flutter and flaunt
This reminds me of our conversation about looking for culture in France, America has no peasant tradition to give us except the mass production of goods to flaunt and flutter
But most stark in the report is research that cites innocent defendants who agree to falsely plead guilty, sometimes on the advice of their own lawyers. An Innocence Project database of exonerations includes dozens of people who falsely pleaded guilty.
This reminds me of a movie I saw on Netflix titled A Fall From Grace in which the main character is in jail for murdering her husband and her lawyer explains to her that pleaing guilty will result in her getting less time in prison based on the lack of evidence. But her assigned lawyer uncovers the truth behind the murder by uncovering new evidence and the main character is innocent. I bet a lot of innocent people would be free if people looked into their cases fairly.
But most stark in the report is research that cites innocent defendants who agree to falsely plead guilty, sometimes on the advice of their own lawyers. An Innocence Project database of exonerations includes dozens of people who falsely pleaded guilty.
This reminds me of the Juan Rivera case and how the detectives got a "confession" out of him. I wonder what proportion of the innocent defendants can be considered susceptible to these coercive tactics.
proper defense lawyer who will work to counter the prosecution’s accusations and attempt to prove innocence.
This reminds me of the movie "Liar Liar," starring Jim Carrey. It reminds me of it because Jim Carrey is a lawyer and even though the person has done wrong, he needs to do everything to prove that they are innocent. So what I learned from this movie is that all lawyers are liars when they have to lie, that's the only way they receive money if they win the case.
Evidence in law is any kind of proof used legally in a court of law to show to the judge and jury (alleged) facts relevant to the case.
This reminds me of prosecutors because their job is to find evidence within the suspect to show proof to the judge and jury. But really don't prosecutors make the decision themselves?
Exposing these institutional biases, however, is not an easy task for curators, since they are working from inside the marble pillars.
Connection: It reminds me of the ecology of the art world that we talked about during the second class. Most institutions are supported or funded by the government, so it is difficult for curators in these institutions to critique. That being said, I think we as the new generation of curators still need to consider how to critique institutions whether we will work in these institutions or not in future.
This reminds me of the modern-day dynamic between Latin Americans and Spanish people. Some Spanish people still have negative attitudes towards Latin Americans. However, they gladly consume Latin American media such as TV and music.
For example
The idea of censorship reminds me a lot of the red scare and how many great novels we've gotten because of that point in history. We don't read just learn reading and writing, we read to learn history and it's effect on us.
With walls and towers were girdled round;
Reminds me of those ancient walled city or civilization from middle eastern and east asian empires. Cedar Trees was also mentioned in this poem and it is associated with something that is haunted or mythical. Similar with how it was depicted in Epic of Gilgamesh.
Main-stream culture prevents us from understanding a central tenet of social justiceeducation: Society is structured in ways that make us all complicit in systemsof inequality; there is no neutral ground. Thus an effective critical social justicecourse will unsettle mainstream perspectives and institutional discourses, chal-lenge our views about ourselves, what we think we know about society, how itworks, and our place in it.
This passage reminds me of the quote "Out of sight, out of mind," possibly because certain things are inconsequential to others until they've experienced something similar.
he or she would not use witchcraft against you.
This reminds me of the Salem Witch Trials
The Singing Lesson I
Connection: It reminds me of the performance art "Dance with Farm Workers" by Song Dong and Wu Weiguang. It is an hour long video that documented the eight-day reheasal and the final performance. It has both the asthetic part as an artwork as well as communciation and social engagment. The final performance encouraged the audience to think the social and political problems surroding farm workers while the reheasal was where the communication and dialogue happened. https://www.youtube.com/watch?v=33HFpoZcgoY&ab_channel=newmovieasia
this little discussion we're having reminds me of a lecture I once gave many years ago shortly after how to read a book was first published which which I said that I thought that solitary 02:17:34 reading was almost as much advice as solitary drinking
Solitary reading [is] was almost as much a vice as solitary drinking. —Mortimer J. Adler, in Part 11: Activating Poetry and Plays
Microorganisms are the products of evolution, the biologic consequence of natural selection
This reminds me of the survival for the fittest.
‘Do you avoid reminders that the person who died is really gone?’
With my pet Pepper that passed away, I don't like to look at pictures of her. I got a bit better with it over the past year because this year marks her 2nd anniversary of her gone. I still have unresolved feelings especially because of the nature of her death and when I look at pictures, it reminds me of all the things I wish I would've done better even though me and my family did the best we could with what we knew. As I get older, it really just keeps rubbing it in your face that hindsight is 20/20.
the Negro is a sort of seventh son, born with a veil, and gifted with second-sight in this American world,—a world which yields him no true self-consciousness, but only lets him see himself through the revelation of the other world
This reminds me of the way Henry Adams describes America's aversion to feminine power and sexuality compared to the power of the Venus in Europe. Alternatively, Du Bois describes how American culture splits "the American... Negro [into] two souls, two thoughts, two unreconciled strivings..."
"to support this kind of reading and there- fore want to dismiss or exclude it from classroom life. Perhaps we dismiss as unimportant or not lit- eracy what we don’t recognize as “just right” reading (unintended consequence 11)" This reminds me of the debate teachers used to have in classrooms I was in growing uo about comic books. I see how fans of this type of literature are motivated to learn through this medium. However, I understand also that teachers do not want students to be relying to heavily on the pictures presented to them. This quote, as I understand it, would permit students' use of comic books, but supplemented with a more word dense text.
Sweet Thames, run softly, for I speak not loud or long. But at my back in a cold blast I hear The rattle of the bones, and chuckle spread from ear to ear.
As we progress into the third section of TWL, we seem to arrive at a new setting too; instead of observing the dynamic between individuals that emphasizes gender and its norms (a human construct), we are now at the Thames, a more natural scene that "bears no empty bottles, sandwich papers, Silk handkerchiefs, cardboard boxes, cigarette ends...", proving barely any trace of human acts.
Time is a natural phenomenon, which will evidently be present in a section regarding the natural world. The Thames running softly demonstrates time. With time comes movement, and the running of this river shows the flow of time that continues. This reminds me of Marvell's "But at my back I always hear / Time’s wingèd chariot hurrying near", which is fitting since line 185 clearly reflects the first line of Marvell's quote. It also evokes Laforgue's "The sunset reins in its chariot", which paints a similar image of the sun's natural descent, likewise resembling Marvell's depiction that "we cannot make our sun / Stand still". However, we, as humans, sometimes hope for the natural world to listen to us. When Eliot writes "Sweet Thames, run softly, for I speak not loud or long", he conveys the notion that "I" desire nature to be understanding in a way, to be "soft" while "I" weep and remain quiet. But evidently, time stops for none, and neither does nature. When "I hear / The rattle of the bones, and chuckle spread from ear to ear", Eliot seems to be alluding to the natural phenomenon of death, just as Laforgue writes of "wisteria skeletons... Shrivelling out their deaths". Thus, even though "I" am not speaking loudly here and desire a time when "the river hushes" as Frankau writes in One of Us, "the rattle of bones" remains audible, proving nature's autonomy that humans cannot interfere. Carpenter in Towards Democracy also hints at the inevitability of sound through "The Thames runs down—with the sound of many voices" and "the waters make perpetual music".
A last slight observation is that "ear to ear" in line 186 resembles Frankau's One of Us, in which he writes "Body to body, breast to breast enfold her; Till eye with eye and lip with lip afire Kindle the answering fever of desire!"
Is there nothing in your head?'
Strangely, although this is referring to the Drowned Phoenician Sailor tarot card, it reminds me of a line from the Middleton reading—where Ignatius Loyola says:
Pawns argue but poor spirits and slight preferments, Not worthy of the name of my disciples. If I had stood so nigh, I would have cut That Bishop’s throat but I’d have had his place And told the Queen a love tale in her ear Would make her best pulse dance. There’s no elixir Of brain or spirit amongst ‘em.
This one snippet of dialogue seems rather denigrating to women, to say the least. Loyola is saying, essentially, that if he were on the chess board, he would attempt to seduce the Queen—who has "no elixir / Of brain or spirit"—even if it meant turning against the pieces on his own team. In my conversation with Quisha in class yesterday, she mentioned the fact that the game of chess has distinct gender roles: the queen, though being the most powerful and versatile piece on the board, is not nearly as venerated as the king—who ultimately decides the fate of the game; this is meant to be a reflection of gender roles in society. In fact, Pound's "The Game of Chess" speaks to a similar dichotomy: he describes the "'x's of queens," which I thought of as referring to the XX chromosomes in the female sex, with little to no descriptors. On the contrary, the "'Y' pawns" were depicted in a more triumphant light: "... cleaving! Embanking! / Whirl! Centripetal! Mate!" Essentially, while the "female" pieces are dispensable—something to be seen as an object of seduction and lust—the "male" pieces are lauded, perhaps beyond their actual abilities. As for the connections to the Drowned Phoenician Sailor, this makes sense: the Phoenician Sailor, for whom one must "Fear death by water," is a reflection of the female torment. Ophelia, for one, drowns herself in a river in Hamlet—the precise "death by water"—due to the nature of gender discrimination.
Which I am forbidden to see.
In Huxley's Chrome Yellow, there is a moment where Mr. Scogan mutters "where ignorance is bliss, tis folly to be wise." With the previous reference to a an "blank card" in TWL, which with tarot readings represents a "blank' future, it is implied that his reading is too appalling to be fortold. The following vision, "I see crowds of people, walking round in a ring" reminds me of the nature cults described in "From Ritual to Romance". There are many modes of sacrifice that the cults use to beg the gods for fertility, but one that connects here are the "rain charms"–in other words, drowing. If he must "fear death by water", is the vision some kind of metaphor (which the narrator is blind to, or ignorant to) for what these cult sacrifices represent?
In 1971 we began FILE Megazine. Specialized audience magazines and newspapers and especially underground papers mushroomed in the late Sixties. The notion of lifestyle created a sudden blossoming of special interest groups. In the art scene, too, and especially in Canada, artists’ publications became a connective tissue allowing us to see ourselves as existing, as an existing art scene with real artists you could take pictures of. This was, then, the only way to see ourselves, to know ourselves. FILE started as a response to the networking then actively pumping images, manuscripts, ephemera through our mail slot and collecting in our archives. Now we needed a way to recycle this material back through the system it reflected, to allow a self-image, or the possibility of self-image. The first issue of FILE in April 1972 featured Vincent Trasov as Mr. Peanut in front of the Toronto skyline photographed by David Hlynsky. East meets west. This is not to say that FILE was a form of artists’ communication. No, rather a means to see oneself as a part of this configuration of personalities, that is, as a component of a “scene.”
Are General Idea more curators than they are artists? A reoccurring theme throughout the article is "been seen" to create buzz , identity and dialogue within Canadian art. If we reference FILE magazine Glamour issue they offered gave a broad manifesto. The “Glamour” issue programmatically states: “We wanted to be artists and we knew that if we were famous and glamorous we could say we were artists and we would be. . . . We knew Glamour was not an object, not an action, not an idea. We knew Glamour never emerged from the ‘nature’ of things. There are no glamorous people, no glamorous events. "We knew Glamour was artificial. We knew that in order to be glamorous we had to become plagiarists, intellectual parasites.” sited in this article https://www.artforum.com/features/glad-rag-file-magazine-163683/ and this introduction about them from the MOMA General Idea is the collective project of artists Jorge Zontal, AA Bronson, and Felix Partz. Between 1969 and 1994, the trio transformed their life together into a “living work of art,” which they presented in performances, objects, videos, and publications. In doing so, they forged a complicated theory about how visual forms operate in society, best summarized in their motto “image is virus.” https://www.moma.org/artists/7474#:~:text=General%20Idea%20is%20the%20collective,objects%2C%20videos%2C%20and%20publications. The impact reminds me of Warhol's Factory and I wonder if they influenced Toilet Paper Magazine which also pokes at social commentary through images. https://www.toiletpapermagazine.org/ All three were artists but, was the overall awareness of the Canadian art scene that they created, greater in reach than the art itself?
we pooled our fantasies in the druggy way characteristic of the time to actualize our Burroughsian dream of a transcanada art scene.
C: Burroughsian dream reminds me of reading the experimental novels by William Burroughs who is the key member of Beat Generation. The Beat Generation was a literary subculture movement started by a group of authors in the 1950s to reject literary formalism and the American culture built on capitalism and materialism. Both General Idea and Beat Generation are rebelling against the cultural structure of their times and using their artistic and literal creations to establish their goals.
In the first place, the boys are not paid by the day or week, but so much for each message delivered. This gives every boy an incentive to deliver every message as promptly as possible, and to hurry back for another one.
This reminds me of amazon workers nowadays who are incentivized with money to deliver packages quickly, although for Amazon it often leads to inferior service.
He thinks of it as a part of me, and he treats it no differently than he would an ear or finger.
This reminds of how children are much more accepting of differences than people are when as they grow older.
AI learns by finding patterns in enormous quantities of data, but first that data has to be sorted and tagged by people
This reminds me of the way algorithms work
“One of the most curious applications of the telegraph is its use in surgery to discover a bullet would. The probes and forceps are each connected with a delicate battery. When one point of the probe or forceps touches the ball no effect is produced, but when both touch it the ball completes the circuit, and the tinkling of a bell or the vibration of a spring shows the surgeon he has seized it.
This kind of reminds me of the game 'Operation'! I know its the opposite reaction to what happened here, but the doctor being able to feel the vibration of the probes and forceps reminds me of when you hit the side when trying to retrieve a piece in the game. Besides this, I think that this is an amazing way to use this technology during that time period. I'm quite intrigued on how they did this.
This essay - though I didn't finish reading - reminds me of the benefits of 'outside art' - doing what I want without participating in the fragmented community discourse. Literary criticism is important, but as someone who doesn't want to dedicate myself to such a community or 'meta-community'. My membership in such a community will scale with the work I make - if others respond to what I do, I'll get involved, but otherwise there is no concern.
I have no stakes though - my writing just lives in git and is visible-but-unlinked on my personal site.
What a lovely example of H5P! I keep my eye open for them floating around in the wild, but don't often see them.
It reminds me of a 1906 advertisement I ran into earlier this year. I should have thought to make my own H5P out of it. https://boffosocko.com/2023/03/09/satelite-combination-card-index-cabinet-and-telephone-stand/
True mastery can be gainedby letting things go their own way.It can’t be gained by interfering.
This reminds me of the stoicism discussions we have been having. Allowing nature to take control and not interfering or becoming upset by what you are not in control of. I like this passage because of how it associates knowledge with not only gaining things, but losing them as well and learning from both. Generally, knowledge is known as taking effort and discomfort to gain, so this is a new way of seeing how it can be done.
American College of Pediatricians (ACPeds), a much smaller advocacy group that characterizes homosexuality as a harmful lifestyle choice.
This reminds me of a search I was making the other day, on whether or not Jesus promoted nonviolence. The first search results says that he does, but I realized it was by a Jewish website (and not many Jewish people believe in Jesus). I then altered my search results and found drastically different responses by different organizations (e.g. Christians/Catholics).
When you get to your room, you lock the door and turn up MF Doom on your portable speaker to ward off mothers, fathers, grandmothers, sisters, and brothers who want to harp at you about prayer, the Quran, Pashto, Farsi, a new job, new classes, exercise, basketball, jogging, talking, guests, chores, homework help, bathroom help, family time, time, because usually “Madvillainy” does the trick.
The kid wants nothing to do with his family, just wants to play video games. This reminds me of a lot of similar modern families when kids tend to get older. Adolescents can have troubles with their parents because they want to be more independent.
directed to the role of women in shaping mascu-line subjectivities and the making of men
reminds me of teh saying that alot of people say; raising men is easy.
Starting at the neck, we traced around the children, butinstead of following along the underside of the arm, we drew a straightline from their wrists to their waists, then down on both sides to aboutthe knees. The children then stood up, we cut out the shape, and voila!Each child had an individualized set of wings. We strapped them on, madeit clear that the children were not to try the wings out by jumping offroofs, and they were off. A flock of birds leaped into action, flyingthrough the forests, exploring life as birds.
Reminds me of the Mystery of the Monarchs event at the PNNM on that one saturday.
T heir maps push off the edge of the page, and they often needto attach extra pieces of paper to map the new terrain they areinvestigating. Children's homes become small, inconsequential, andoften move to the periphery of the map. The central focus in their mapsis the “explorable landscape.”
Reminds me of how Hiccup from HTTYD had to do that
People with more exposure to nature are more interestedin conserving it. Although interactions with nature arenot the only route to interest in conservation (e.g., Koll-muss & Agyeman 2002), they are clearly an importantand arguably necessary condition.
Kind of reminds me of the Natural Deficit issue.
This one makes me pretty emotional. It reminds me a lot of my relationship with my brother especially at that age.
His 2001 project Las Agencias situated MACBA as a collaborator of social movements by defining the art institution as a working space for social activists. According to Ribalta, the politicization of the institution by enabling it to become a place for collaboration with activists and thus “part of social struggles” seemed essential.
This reminds me artist Hiba Abdallah's work REHEARSING DISAGREEMENT. It is a section of a one year program, Art in Use, which is commissioned by MOCA. “The installation investigates ways to explore disagreement and conflict through the lens of art within the structure of a museum“. Here, MOCA freeing up the space for the artist and his interactive installations and actively engaging the audience in this opinion-generating art installation.
Blockbuster exhibitions are also subject to appalling levels of discrimination. The gender and race breakdowns of the Venice Biennale are a case in point. In the 2017 edition, entitled “Viva Arte Viva,” curated by Christine Macel, women artists comprised only 35% of the participants. European and North American artists dominated the 2017 edition, with 61% of participants coming from the two continents.
These data reminds me a report TORONTO’S VISUAL ARTS SCENE by the Greenline. In the second part Feature, two engineers collect personal informations about the artists contracted in galleries, which is artist's age, gender, nationality, place of birth… then they built a databases to express the diversity of Toronto art ecosystem. I’m sad to see that after I clicked the category Chinese-Canadian or Chinese in the legend to exclude them from the pie chart, I don’t even notice any change of the pie chart. They are just two slight lines on this pie chart.
https://thegreenline.to/issue/visual-arts-scene-toronto/#part_two_feature
focuses almost exclusively on work produced by women, artists of color, non-Euro-Americans, and/or queer artists
C: This reminds me of discussions of avoiding essentializing marginalized artists. Exhibiting marginalized artists is, of course, a good thing, however one must be careful to not stereotype or pigeonhole marginalized artists and their art. Identifying artists as only their Otherness is no less ignorant than excluding them altogether. An example of this type of essentialism is J.C. Leyendecker, who many theorize to be gay, but exclusively look at his artwork through that lens rather than analyzing it on its own merits. Many critics nowadays mimic the controversial literary practice of 'death of the author', by eliminating the artist's narrative from their artwork to analyze the work on its own.
Why are mainstream curators perpetuating such bigotry? Have curators today become so arrogant that asking them to include more non-white and/or women artists is an affront to their egos? Do they view their curatorial thematic as so Biblical / air-tight / brilliant that it can’t allow for Other artists? Has the curator’s voice today become too god-like?
C: This reminds me of discussions regarding the heroization and mythologizing of artists, I believe the same principle can be applied to curators. Although historians and curators are not as publicly facing as artists, the historians whose work has been circulated as the 'holy grail' texts of art history have all been extremely privileged (Gombrich comes to mind); through this notoriety, they may mythologize themselves and their work by extension, seeing it as infallible in the way that the author describes here. Considering fashion as a type of curating, designers often refuse to be inclusive on the basis that they have a specific creative idea which isn't inclusive (e.g. Karl Lagerfeld); this New York Times article discusses the ways in which much of the fashion industry continues to be exclusive, and refuses to change. https://www.nytimes.com/2021/03/04/style/Black-representation-fashion.html
In an art world that remains what Judith Wilson has called “one of the last bastions of white supremacy-by-exclusion,” most mainstream curators tend to reproduce a whitewashed art world, offering little more than lip service to the concept of racial inclusion.
C: This reminds me of how classical art is used in fascism and subsequently, white supremacy, as a means of glorifying the West's imagined history. Classical works, Italian high renaissance works, and Italian mannerism works tend to be on the forefront of this narrative of 'great art'. Benito Mussolini, who is credited with creating modern fascism, would invest large sums towards specific exhibitions and works which glorified Italy's past. Similarly, the Degenerate Art exhibit organized by the Nazi Party in Germany aimed for the same goal but with a different execution: by tearing down all work that is 'degenerate', it highlights the perceived glory of German art. Considering these, it's clear that racism and sexism are not a part of art history, but the opposite: art history is an integral part of the institutions of racism and sexism.
you could look through binoculars and lipread and understand everything people are saying
reminds me of Only Murders in the Building -- theo literally does this. they remedy it in the second season kind of when he hands her a card explaining the 30%, but they continue to make him lip read
the English language to signify “a low cost solution to any problem in anintelligent way” (
Reminds me of the famous New Yorker quote "work smarter, not harder".
Before these gathering dews are gone May pierce me–does the rose regret The day she did her armour on?
there is imagery that reminds me of the rose, unthorned and spiney the beautiful flower will pierce what will give it the most affection.
Love is not all: it is not meat nor drink Nor slumber nor a roof against the rain; Nor yet a floating spar to men that sink And rise and sink and rise and sink again;
This reminds me of the passage from the bible book of Corinthians that is read in weddings describing all the things that love is. these lines are describing what love is not.
In that the foul supplants the fair,
This actually reminded me of the opening scene of Macbeth: "Fair is Foul, Foul is Fair" and the paradoxical nature of that statement. It's like one cannot exist without the other. In light of the poem, it also reminds me of the saying "Every rose has its thorn." Again, one cannot exist without the other. And rather, something good (rose, fair,) cannot exist without something bad (thorn, foul.) Just the nature of human existence, I suppose. Some interesting external connections to be made from this poem.
has grown An iron cortex of its own
This reminds me of the line in They Feed They Lion, "Mothers hardening like pounded stumps." All will be easier, but will the mind be hindered in it's iron cortex? Will it be more like a stump? Or is this poem questioning that notion, that hardening does away with fairness? Maybe the defense protects but does not diminish: the rose is more refined in contrast to its thorns, the delphinium more mysteriously delicate because of its poison, the mothers emitting more of Venus in their hardening...
This is awkward for the Trump administration, which has been slow to respond to the new virus(and which thinks banning travelers from Europe is the best defense against a disease that isalready spreading rapidly on its soil).
Reminds me of this article: https://globalizationandhealth.biomedcentral.com/articles/10.1186/s12992-021-00677-5. More globalized countries have a tendency to engage in protectionism, banning travelers, as to first prevent the further spread of the virus, commit to existing trade agreements, exhibit a greater desire to ‘learn from others’ and also perhaps of ‘confidence’ in a government’s ability to deal with a pandemic through its health system and state capacity.
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fair enough. in a way, what you describe reminds me of what i refer to as instrumental vs. intellectual writing. the former encompasses required administrative writing; the latter, the work I produce for the benefit of my field
Illustrations
this reminds me of a book i read called Wildwood by Colin Meloy. It was set in a fictionary world and in the beginning of the book there was an illustrated map which made the book much easier to understand when the author was describing the location of the characters and the interactions between them
xperience
this reminds me of "show don't tell" that teachers told us to do when writing
The computer programming the child
This reminds me of the reading and math program we use in my school, i-ready.
But there is a world of difference between what computers cando and what society will choose to do with them
This reminds me of how if you find the right learning game for your students, it could turn into something they choose to do on their own at home. This means their practice and learning will continue even when they are not in school.
In this book I discuss ways in which thecomputer presence could contribute to mental processes not onlyinstrumentally but in more essential, conceptual ways, influencinghow people think even when they are far removed from physicalcontact with a computer (just as the gears shaped my understand-ing of algebra although they were not physically present in themath class).
This reminds me of the new math curriculum my county is implementing in the classrooms this year. It is all about how students draw their own conclusions based on what they see and what they notice. There are many programs on the computer to help with this.
the model of successful learning is the way achild learns to talk,
This reminds me of who is the owner of their learning. Scholars learn from watching others just like a baby learns to talk, crawl, walk, etc. from watching others. They are the owner of their learning. They watch someone else and practice this on their own until they achieve their goal.
To me, this is learning. Scholars gain more from their peers than they do from me. When they guide their learning and I sit back as an observer and helper than a facilitator, their learning develops exponentially than when I try to facilitate the learning.
Second, that the "right conditions" are very different from the kindof access to computers that is now becoming established as thenorm in schools
The access, or lack thereof, to computers would certainly influence learning in this case of learning to program. This reminds me of my students that do not have access to internet connections at home.
rehensible without being rigidly deterministic.I believe that working with differentials did more for my math-ematical development than anything I was taught in elementaryschoo
From my point of view, this is learning as we learn by doing. As stated working with the "differentials did more for my mathematical development than anything I was taught..." This reminds me of myself as I learn best by doing rather than listening or hearing.
I see theclassroom as an artificial and inefficient learning environment thatsociety has been forced to invent because its informal environmentsfail in certain essential learning domains, such as writing or gram-
This elicits the notion that we are in control of our own learning and reminds me of the nature versus nurture debate. We learn best by watching others in action around us and our parents are our first teachers.
he perfect elimination of the pain and effort of laborwould not only rob biological life of its most natural pleasures butdeprive the specifically human life of its very liveliness and vital-ity.
This quote kind of reminds me of the movie inside out, where joy realizes that sadness is an essential part of life that enables the joy you feel to be more meaningful/true. Similarly, pain and effort are necessary for happiness and fulfillment.
over170 students and 148 of their familymembers read stories together andenjoyed a picnic lunch on the school’spark-like grounds
This reminds me of an activity we did when I was in elementary school - kindergarten I believe. Our parents joined us for a Teddy Bear lunch where we had a picnic outside with our families and stuffed animals. I don't remember if there was another cause, or if we were just enjoying the time.
ADDIE reminds me of a lesson plan design model called the 5E's. This is commonly used by teachers when writing or creating lessons plans. It helps them with structure. I feel like ADDIE does the same-- helps you have a structured plan for the ISD process.
The access, or lack thereof, to computers would certainly influence learning in this case of learning to program. This reminds me of my students that do not have access to internet connections at home.
Computers are definitely becoming the norm. When I was in school, we had the intro to typing and it was the "new" word processors that didn't use the typewriters. We could type, backspace (without the film) and then it the print button and it would do. Now, we are required to have the kids on programs so many minutes a day/week. If the internet goes out at school, minds are lost because of the dependency.
effort involved in scanning a page for links, and deciding which link, if any, to follow.
reminds me of those treat mats for animals
Said shows how Orientalist writings and ideologies actively shape the world they describe, and how they perpetuate views of Middle Eastern people as inferior, subservient, and in need of saving.
This passage reminds me of the phrase "history is written by the victors." For example, If you view conflicts in Iran, Syria, etc. through an American lens you will likely believe our military involvement is justified in the fight to protect democracy and prevent terrorism. In reality America's Middle Eastern involvement has been heavily scrutinized and called ineffective and outright unnecessary. Those in power wield the power to distort reality.
To do this, we allow the full range of emotions to flow through us, without putting up resistance to the process. We set the intention to experience the full range of feelings—be they good or bad. This requires moral courage, but, while it is uncomfortable (especially in the early stages), it affords the same benefits as a well-working spleen: We are more resilient. We have more energy. Our spirit is purified. And, most of all, we begin to be aware of the meaning behind the pain we experience. As the Buddha said, the more conscious we become, the less we suffer. The development of consciousness serves to deliver us from meaningless suffering.
Feeling everything, no resistance, reminds me of wu wei
To gain such remarkable influence, the concept of wilderness had to become loaded with some of the deepest core values of the culture that created and idealized it: it had to become sacred. This possibility had been present in wilderness even in the days when it had been a place of spiritual danger and moral temptation. If Satan was there, then so was Christ, who had found angels as well as wild beasts during His sojourn in the desert. In the wilderness the boundaries between human and nonhuman, between natural and supernatural, had always seemed less certain than elsewhere.
This reminds me of the book Confessions by Augustine that I am reading. When Augustine reaches his conversion to Christianity, he has this big revelation while in a Milan garden. Highlighting this idea of sacred nature and sublime acts within it.
This time white musicians who can play are too frequently elevated far beyond their abilities in order to allow white writers to make themselves feel more comfortable about being in the role of evaluating an art from which they feel substantially alienated
Reminds me of how Elvis was stealing from black people
If you are ready to leave father and mother,and brother and sister, and wife and child and friends, and neversee them again--if you have paid your debts, and made your will,and settled all your affairs, and are a free man--then you areready for a walk.
This whole section here reminds me of the Chris McCandless story, referring to leaving everything behind to "walk" and discover the world.
The movement was driven, inpart, by a surge in urban growth, migration from rural farms toindustries, and a concern that youth were missing vital interactionswith the natural world that could shape their future careers
Biophilia reminds me of that
These five interrelated trends—concern about thepsychological well-being of people with limited accessto nature, urbanization, social stresses as well asthose brought about by climate change, and academicachievement of students—pose significant challenges to thefield of environmental education.
This kind of reminds me of this "Biophilic" design project I did back in my senior year of high school
nation to hear a Negro advocating such a programmeafter many decades of bitter complaint;
good on him for finding a better way to present his ideas, therefore gaining more support. this reminds me of MLKs idea of peaceful protests, which was different to how others were trying to get recognition at the time, and ended up being much more successful.
In the era of globalization, museums are caught in a paradox: on the one hand, the need to make their functions and policies evolve towards a geopolitical revisionism informed by postcolonial and decolonial perspectives; on the other, the risk of imposing a new geo-aesthetic expression of the Western model and perpetuating a colonial cultural domination.
Connection: This line reminds me about the studies of art history. Art history is loose organized with discourses varying from region to region, and at the same time a cohesive enterprise that shaping collective memory, it could be build together; the exhibiting space expressed this situation very well. We need to build more connection and partnership horizontally, but it is obvious that under the difference of art history in this world, there is a standard, a narration goes through everywhere. Examples of Centre Pompidou and the Stedelijk showed two different kinds of tendencies. And then later on the case in China, showing the pursuit for the Western canon. In non-western museums, the artworks of the Western canon is more of a trophy, or like a loss leader of a grocery store, which is a irony and at the same time a compliment. This case is a reverse perspective that reflected the geopolitical reality of the world. All these phenomena remind me of Saudi Arabia and PIF‘s efforts to shape the country's image in sports (soccer) in this summer.
“cultured” representatives of the race
This reminds me of the black male gaze once again. Especially in a time where BBLs are very presented in today's mainstream media and everyday life.
André Breton tells a story about a French poet who, when he went to sleep, put on his door a sign that read: “Please, be quiet—the poet is working.” This anecdote summarizes the traditional understanding of creative work: creative work is creative because it takes place beyond public control—and even beyond the conscious control of the author. This time of absence could last days, months, years—even a whole lifetime. Only at the end of this period of absence was the author expected to present a work (maybe found in his papers posthumously) that would then be accepted as creative precisely because it seemed to emerge out of nothingness.
C: This passage reminds me of the story behind Étant donnés, Marcel Duchamp's last artwork, which was not known to exist until it was found after his death, as he had been hiding it and convinced the art world that he had given up art for competitive chess. The sculpture consists of a door with two peepholes, which when looked into, the viewer would see the nude figure of a woman laying among grass. I believe it was Duchamp's intention to satirize this mythologizing of the creative process and creative works.
In a world in which the goal of stopping the flow of time is taken over by the internet, the function of the museum becomes one of staging the flow—staging events that are synchronized with the lifetimes of the spectators. This changes the topology of our relationship to art. The traditional hermeneutical position towards art required the gaze of the external spectator to penetrate the artwork, to discover artistic intentions, or social forces, or vital energies that gave the artwork its form—from the outside of the artwork toward its inside. However, the gaze of the contemporary museum visitor is, by contrast, directed from the inside of the art event towards its outside: toward the possible external surveillance of this event and its documentation process, toward the eventual positioning of this documentation in the media space and in cultural archives—in other words, toward the spatial boundaries of this event. And also towards the temporal boundaries of this event—because when we are placed inside an event, we cannot know when this event began and when it will end. The art system is generally characterized by the asymmetrical relationship between the gaze of the art producer and the gaze of the art spectator. These two gazes almost never meet. In the past, after artists put their artworks on display, they lost control over the gaze of the spectator: regardless of what some art theoreticians say, the artwork is a mere thing and cannot meet the spectator’s gaze. So under the conditions of the traditional museum, the spectator’s gaze was in a position of sovereign control—although this sovereignty could be indirectly manipulated by the museum’s curators through certain strategies of pre-selection, placement, juxtaposition, lighting, and so forth. However, when the museum begins to function as a chain of events, the configuration of gazes changes. The visitor loses his or her sovereignty in a very obvious way. The visitor is placed inside an event and cannot meet the gaze of a camera that documents this event—nor the secondary gaze of the editor that does the postproduction work on this document, nor the gaze of a later spectator of this document. Ai Wei Wei tweeted this image of himself in bed after suffering a hemorrhage caused by police aggression. Ai Wei Wei is the second most followed artist on Twitter, despite Twitter being illegal in China. That is why, by visiting contemporary museum exhibitions, we are confronted with the irreversibility of time—we know that these exhibitions are merely temporary. If we visit the same museum after a certain amount of time, the only things that will remain will be documents: a catalogue, or a film, or a website. But what these things offer us is necessarily incommensurable with our own experience because our perspective, our gaze is asymmetrical with the gaze of a camera—and these gazes cannot coincide, as they could in the case of documenting an opera or a ballet. This is the reason for a certain kind of nostalgia that we necessarily feel when we are confronted with documents of past artistic events, whether exhibitions or performances. This nostalgia provokes the desire to reenact the event “as it truly was.” Recently in Venice, the exhibition “When Attitudes Become Form” was reenacted at the Fondazione Prada. It was a very professional reenactment—and so it provoked a new and even stronger wave of nostalgia. Some people thought how great it would be to go back to the 1960s and breathe the wonderful atmosphere of that time. And they also thought how awful everything is at the Biennale itself, with all its fuss, compared to the sublime askesis of “When Attitudes Become Form.” At the same time, visitors from a younger generation found the exhibition unimpressive, and liked only the beautiful guides in their Prada clothes. The nostalgic mood that is inevitably provoked by art documentation reminds me of the early Romantic nostalgia towards nature. Art was seen then as the documentation of the beautiful or sublime aesthetic experiences that were offered by nature. The documentation of these experiences by means of painting seemed more disappointing than authentic. In other words, if the irreversibility of time and the feeling of being inside rather than outside an event were once the privileged experiences of nature, they now became the privileged experiences of contemporary art. And that means precisely that contemporary art has become the medium for investigating the eventfulness of events: the different modes of the immediate experience of events, their relationship to documentation and archiving, the intellectual and emotional modes of our relationship to documentation, and so forth. Now, if the thematization of the eventfulness of the event has become, indeed, the main preoccupation of contemporary art in general and the museum of contemporary art in particular, it makes no sense to condemn the museum for staging art events. On the contrary, today the museum has become the main analytical tool for staging and analyzing the event as radically contingent and irreversible—amidst our digitally controlled civilization that is based on tracking back and securing the traces of our individual existence in the hope of making everything controllable and reversible. The museum is a place where the asymmetrical war between the ordinary human gaze and the technologically armed gaze not only takes place, but also becomes revealed—so that it can be thematized and critically theorized.
Summary 5: The internet is dated because it documents to stop the passage of time (like traditional museums) while curation is cutting edge because it "stages the flow" of events within time. The direction of observance for the internet is from the outside in while for curation it is from the inside out. Even "reenacted" events fail to connect in current time despite the fact that they are nostalgic for those who have previously experienced it. Being present at an event in the time and space that it is happening, surrounded by all the circumstances of the location in terms of world events, personal events, people that accompany you becomes the sought after "privileged experience" to be investigated critically afterwards.
There are two alternatives, on one hand there is the traditional museum that seeks to preserve cultural items from the passage of time and then there is curation which seeks to enter the event of time and space. Traditional museums preserve love and beauty from death and remove it from time in order to be viewed. Curation seeks to enter the experience of love and beauty as an event of life and death within the flow of time.
He will not go behind his father’s saying, And he likes having thought of it so well He says again, “Good fences make good neighbors.”
The last line makes me rethink the words spoken by the speaker's neighbor. He doesn't want to change his way of thinking. It was his father's words and now his own; he won't deviate outside the borders of his closed mind. This reminds me how we may lock ourselves in our own boundaries by performing habitual activities, thinking a certain way because of the way we grew up, or keeping walls up due to past experiences/traumas. We may have good reasons or good intentions, or maybe our reasons are just out of habit. Nonetheless, we could be trapping ourselves in close-mindedness, just like the speaker's neighbor.
For those of you who could not see the virtue Of knowing Volney’s “Ruins” as well as Butler’s “Analogy” And “Faust” as well as “Evangeline,” Were really the power in the village, And often you asked me “What is the use of knowing the evil in the world?”
These lines remind me of both DuBois's and Adams's connection to art, culture, and history, and the way they use these things to make sense of their present moments. Both writers drew from the past similarly to Masters here. He chooses to mention literature that came before his that had noticeable impacts on society. This connection to the past almost reminds me of Perkins Gilman too, as she reflects on the history of the room with the yellow wallpaper, which is her "world." The rest of the poem reminds me of all three authors, DuBois, Adams, and Perkins Gilman. "Choose your own good and call it good." All of these writers are individuals with unique ideas, about to enter a new era. All of them are choosing their own path.
Life all around me here in the village: Tragedy, comedy, valor and truth, Courage, constancy, heroism, failure– All in the loom, and oh what patterns!
Patterns around life and being connected to nature reminds me of seasons passing
WHEN I died, the circulating library Which I built up for Spoon River, And managed for the good of inquiring minds
Reminds me of the classic "Will I be remembered for all of time? Will I leave behind legacy?"
structure
The concept of structure really stands out to me. There is the everyday structure as I would call it in what this article is referring to, but what does it really mean by structure and if the structure is consider right or wrong. Everyone has a multitude of structure and what that looks like. For instance it reminds me of two set of parents where the kids have to figure out the structure in both houses. It shard because they go from one to another, but ending up becoming accustomed to both forms of structure. The author states, "structure gives rise to some patterns of observable evidence rather than others" Bad, & Olusegun, S (2015). Constructivism Learning Theory: A Paradigm for Teaching and Learning.
Children infer causal structure from statistical information, through their own actions on the world and through observations of the actions of others.
The fact that this article mentions that children infer statistical information from themselves and others implies meaning to our lives. This is a way we can record and relate to ourselves and others, allowing us to be the unique humans species that we are. Clearly there is observation of how someone else is playing and/or in what way they decide to play. This resonated with me because this is the reason I am a teacher. I noticed from a very young age that others learned different just by observing them while I was learning myself. I am able to apply this to my teaching practice now and benefit greatly from that ability.
They also include studies of the variability and progressive character of intuitive theory change, particularly theory of mind.
This intrigues me to do more research on the theory of mind and I would like more clarification on this theory. It reminds me of a book I read while acquiring my bachelors degree called "Play" by Stuart Brown, M.D. The reason I read this book is because at the time I was also getting a divorce and my children were developing some behaviors. In this book it says "learning how to stay playful in an age-appropriate way while taking on ones responsibilities is one of the most important tasks." This is what I related to first when I think of theory of mind. What we can do at certain times within our minds while we carry the loads we do, yet still remembering to be playful and enjoy life a we go.
They may, for example, take a likely hypothesis, and then “mutate’ that hypothesis to generate a number of new, slightly different hypotheses with different probabilities.
While the researcher in this article are emphasizing the relevance to development psychology, this "mutating of hypotheses" reminds me of Hegelian philosophy. Are children engaging in some form of natural dialectics?
In accord with these different cultural emphases Chinese preschoolers develop theory of mind insights in a different sequence than Western children, Both groups of children understand the diversity of desires first. But Chinese children, unlike Western children consistently understand knowledge acquisition before they understand the diversity of beliefs. (Wellman, et al. 2006; Wellman, et al. 2011).
**ETC547 **
This reminds me that in old China, from primary school to university, and even most doctoral students learn knowledge, almost all teachers show a historical event or a certain scientific discovery, and then tell the students what can be learned from it. Summarize a social or natural law, and this law can explain more other phenomena. This model can be applied to many disciplines, such as physical chemistry. This is like what Blocher (2016) mentioned, objectivism thinking. From this perspective, one might believe that knowledge is being cognizant of facts, skills, and concepts, as they are related to what is true, making knowledge bound, and confined to specifics (Blocher, 2016, p. 5).
Reference
Blocher, M. (2016). Digital Tools for Knowledge Construction in the Secondary Grades. Rowman & Littlefield. https://www.google.com/books/edition/Digital_Tools_for_Knowledge_Construction/AlznDAAAQBAJ?hl=en&gbpv=1&dq=michael+blocher&pg=PR4&printsec=frontcover
how the text shapes our interpretationof, and· degre,e of sympathy or admiration for, the character; what function thecharacter serves_ in the·:narrative;·and what the character might represent
the last bit of this passage (function and representation of character) reminds me of one of my high school english teachers. she encouraged abstract thinking and forced us to look deeper into the characters in the books we read through assignments.
He sat the jug down slowly at his feet With trembling care, knowing that most things break; And only when assured that on firm earth It stood, as the uncertain lives of men Assuredly did not, he paced away,
"Knowing that most things break" stood out to me here. In this poem Robinson is writing from the perspective of someone in isolation, probably nearing the end of life. He is preoccupied with the change going on around him. The friends lost, the uncertainty of life, and his past. He knows life is ever changing. This writing reminds me of the other pieces because each one deals with people on the cusp of some sort of change. For DuBois this is being born just after the abolition of slavery, for Adams the industrial revolution, and for Perkins Gilman this may be the women's suffrage movement. All of these authors experienced great societal change during their lifetimes. All of them also know that "most things break."
The music failed, and then God frowned, and shut the village from His sight.
The end of this poem reminds me of Adams's descriptions of the Virgin in America. Missing, ashamed, and powerless. The Virgin couldn't exist as a powerful force in a place she isn't wanted. This is how I see God here.
there was a shop-worn brotherhood About them
This reminds me a bit of the veil Du Bois talks about. There's a brotherhood about the clerks now that binds them and in doing so separates them from the young and the rest. They're still "just as human," but the ancient air they wear makes their souls harder to see than when "blood was in their cheeks" and "women called them fair." The author has to remind us that they were just as good, it's not a given that we as readers assume that.
Now there is nothing but the ghosts of things, — No life, no love, no children, and no men; And over the forgotten place there clings The strange and unrememberable light That is in dreams. The music failed, and then God frowned, and shut the village from His sight.
The concept of the "Dead Village, "an abandoned ghost town community that once thrived, reminds me of the rapid urbanization in "The Dynamo and the Virgin." Adams discusses the changes brought about by modernity and the forgotten nature of traditional social structures. I find the concept of a strange and unrememberable light quite interesting, and how God was frowning. It reminds me a lot of the themes of religion Adams equates to the dynamo.
History as art and entertainment serves a real purpose, on aesthetic grounds but also on the level of human understanding.
This passage reminds me a lot about the resurfacing of past fashion trends and art in today's society. As an example, I know 70's fashion and aesthetics have been making quite the comeback over the past few years. Many people, including myself, are very much appreciative of the styles of people like Stevie Nicks and Jane Birkin. I have seen my style start to incorporate aspects of these women and other influence artists of the time. I know this wasn't related to the part about human understanding, but I'm always fascinated by the way trends can come and go, and then come back again in the future.
New York’s reputation must be awful
Well, this part gives you to think about the perspective of New York in the eyes of foreigners. Personally, people I've met online have told me they think New York is a dangerous place full of crime and drugs. But others only mention the tourist attractions that are in some parts like Manhattan, and I have lived more than 10 years in this city, and I can confirm many things about how it makes me feel about it and that is that New York is dangerous Only if you look for danger in the less friendly areas of some district. It also reminds me of a video I saw about New York. https://youtu.be/-WKiDBRMzx4
Ves, it is nice here in a way. It is nice if you are young and 182 Grandma, Please Don’t Come! 183 willing and able to go down five flights of stairs two or three times a day. If you can “take it” in a crowded subway where you are squeezed in tight twice a day as if you were a cork in a bottle. It is all right in a way—and remember-—I only say in a way —for young strong people. We come to New York young and leave old and tired. All the fun and joy of life extracted from us by the hurry-up machine way of living we are forced to live here.
This description of New York reminds me a lot of the song "America" from West Side Story. It seems like our narrator is on the men's side of this argument. After further research I've learned that Colon published this around 1961, which is the same year West Side Story came out. I am not surprised he shares a similar sentiment with the characters in the movie. I have attached a link of a fun "supercut" of the song, with visuals/music from both the 1961 version and the 2021 version. https://www.youtube.com/watch?v=w0jVQT0Brzw
I do, except for those who are deceived by majority approval into believ-ing that they are true statesmen
This sentence reminds me of James Madison's Federalist Paper #10 about majority rule, underscoring the idea that the majority can overshadow the minority and their rights.
n every other art and manufacture, the effects of the division of labourare similar to what they are in this very trifling one; though, in many ofthem, the labour can neither be so much subdivided, nor reduced to sogreata simplicity of operation. The division of labour, however, so faras it can be introduced, occasions, in every art, a proportionable increaseof the productive powers of labour. The separation of different tradesand employments from one another, seems to have taken place, in con-sequenceof th~sadvantage. This separation too is generally carried furthestin those countries which enjoy the highest degree of industry and improve-ment; what is the work of one man, in a rude state of society, being gener-ally that of several in an improved one
This reminds me of two situations. Summer studio and labour that I was able to work with two years ago. During the summer studio, designers worked as the labor. Here, some had the experience and expertise of using certain tools and following certain techniques while others did not. But the ones who were able taught the others who were not. Towards the end of the course, all of were experts in different kinds of tasks as everyone did everything here. If someone did not know how, they were taught by others. It was a group effort which helped us achieve huge success. Now, the second situation, that is the labour that I was able to work with in India. Here, the division is so clear that a person fixing flooring tiles will have no connection at all with the person painting the walls. There will be a connection but not a direct one. Connection which is through the contractor or the designer or in some cases, the client. Experts have their groups, they do not merge. They work separately with their own expertise. Separation here is very strong. A third party is needed to establish contact and discussion.
Campa taught me that if I am too caught up in outcomes, then I would miss the differences I made through my experiences and journeys with my daughter.
You can't always focus on where you need to go, you will just bring yourself down. But, if you look back at where you've been and what you've done, it reminds you of your progress and gives you the encouragement to keep going.
In other words,both fields seek to understand what processes differ acrossthe conditions or groups, resulting in differences in perfor-mance.
Reminds me of test-taking. Individuals can process and learn information in ways that don't translate to questions on a piece of paper and aren't indicative of their actual understanding.
Within a few years, I had become fluent—but only in speech, not in the written word.
This reminds me of a similar feeling when I first studied Spanish. I will remember certain words based on their meaning and the next I would forget. Feels like I learned more on hearing and body language rather than the actual words.
Bacteria and fungi abound to give us metaphors; but, metaphors aside (good luck with that!), we have a mammalian job to do
This quote specifically reminds me of a phenomenon I've heard of where some people are more willing to discuss real life problems within the context of fiction instead of their real world repercussions that inspired said fiction
find upon analysis that to possess these attributesentails being recognized as belonging to a particular group orclass by other persons in my society, and that this recognition ispart of the meaning of most of the terms that denote some of mymost personal and permanent characteristics.
This reminds me of labeling theory, which states that the labels people are given make them predisposed to fulfilling the characteristics attributed to said labels.
The Egyptianpeasant needs clothes or medicine before, and more than,personal liberty,
This reminds me of Maslow's hierarchy of needs because it proves how people require basic necessities before they can worry about more abstract needs.
1{ my poverty werea kind of disease, which prevented me from buying bread,
This reminds me of the argument about whether basic necessities such as food should be regarded as a human right.
To coerce a man is to deprive him of freedom
This reminds me of the concept of liberty versus order I learned while taking AP Government. While everyone wishes to have ultimate liberty to do what they please, they consent to being coerced into obedience for the sake of maintaining order in society.
o ayoid glaring equality or widespread miseryome, or all, of my freedom!
This reminds me of the discussion over how much freedom should be traded for security, it's controversial especially in a post-9/11-PATRIOT act US
e justifythem on the ground that ignorance, or a barbarian upbringing, orcruel pleasures and excitements are worse for us than the amountof restraint needed to repress them.
Re-emphasizes how authoritative figures manipulate freedom and liberty in an effort to control individuals in vulnerable positions
Note: Reminds me of 'Ugly Freedoms'
in which all men could boundlessly interfere with all othermen;
This reminds me of the idea of the purge, (I've never seen the movie only generally know the idea) without laws what would people do.
believe
The use of believe really reminds me of the question regarding the value of the allusion of freedom. Do we need to be free or just feel free? Are those two things different?
They believe, with goodreason, that if individual liberty is an ultimate end for humanbeings, none should be deprived of it by others; least of all chatsome should enjoy if at the expense of others,
reminds me of a question that asked if democracy and freedom was a means to an end or the end itself.
But if I no longer feel attached to property,
Reminds me of Buddhist concepts of non-attachment?
philosophicalconcepts nurtured in the stillness of a professor’s study coulddestroy a civilization.
I talked about a line in which conformists walk. This phrase reminds me of that analogy. Stepping too far into radical, new practices can cause destruction. There is a need for norms in some regards, but the importance of those norms should be evaluated on a situational basis, in my opinion.
Let my soul praise You out of all these things, O God, the Creator of all; but let not my soul be affixed to these things by the glue of love, through the senses of the body.
Again, reminds me of Plato. Love the form, but not the thing itself.
For we have made an agreement with our God in prayer, that if we would that He should forgive us our sins, we also should forgive the sins which may have been committed against us
This reminds me of the parable of the forgiven debt.
Dearly, beloved, let us love one another: for love is of God; and every one that loves is born of God, and knows God.
Something about this phrasing reminds me of Plato and the forms. Through acts of love, it is almost as if we are participating in God's perfect form of love.
Critical ignoring is the ability to choose what to ignore and where to invest one’s limited attentional capacities.
This reminds me of the previous modules readings which stated younger people tend to mistrust news (even when true) at higher rates than previous generations, something which I feel I fall into. As the video in this module states, it seems we as a class may mistrust news more than media. I believe adding this to other forms of media, and even things told us by friends and family, may be of more importance going forward than just being way of news.
one of the fewscenes in the film that remind us that Precious is still a child
Forgetting sometimes Precious is a child is reasonable considering the situation she was put through. This reminds me of what was discuss earlier, which was that in media white children have this sense of innocence. Whereas, Precious does not.
For example, Talbot claims that physi-cal education helps children to develop respect for thebody—their own and others’, contributes toward the inte-grated development of mind and body,
This reminds me of the standards for physical education. It made me think of standard 4 the most.
“improvement” comes along with possibilities for ruin.
This reminds me of a book I read once that, was fiction but was created around the idea of the multiverse and the butterfly effect. In the book there were infinite realities that had been created with each decision that every person made. One change to the characters history and the present was completely different. None of the lives been "all good" or "all bad" but there are good and bad elements to almost all decisions. This really goes along with what was discussed in the video about people's reaction to these different technologies - the telegraph, telephone, radio, and tv. And while we don't know what life would be without these technologies when any new technology is released the reaction is usually a fearful one. Though people tend to forget there is a sort of balance and with anything there is good and bad (improvement AND decline)
the automobile, which, since 1893, had become a nightmare at a hundred kilometres an hour
It’s interesting how Adams is so troubled with how fast the world has advanced. I wonder if this topic was common back then. Even today, you constantly hear older generations rambling about smartphones and what not. The way he writes almost reminds me of the phrase, “old man screams at clouds.” But maybe that’s the whole point of the article, his self-awareness about being dumbfounded by the new world?
mustbefoughtagainst,andwhatareworthfightingfor
This is definitely an interesting clarification. Reminds me of my first point where I mentioned that on both sides of an argument people are arguing with belief in the same values, they just have different ways of interpreting those values. Here the author is clarifying that they will not be deciding what is and isn't freedom, but instead what types of freedom we should move forward with.
violent and comanizing expectation that denies the lived experience of ao Soles)and grants worthiness only to those who demonstrate virtuous victimizationfor others’ sentimentalized salvati
This line reminds me greatly of the book The Handmaid's Tale because it depicts a theocracy that serves to deny the rights of women and those who dissent from the established religious doctrine.
expressionofthem.
This reminds me of a book I read, titled The Poisonwood Bible that criticizes colonialism. In the book, the people of the Democratic Republic of the Congo are abused by their Western invaders due to the belief that the existence of the Congolese people is somehow inferior to Western society. This subjects the Congolese to horrible abuse based on the assumption that their way of existence is incongruous with Western values.
Yetforthe soldierson theground,who continuedtoperformit,thewatercurewasviewednotastheoppositeofAmericanpoliticalvalues butasanexpressionofthem.
This reminds me of a discussion we did during orientation on how to argue or debate effectively. People on both sides of an argument usually have their opinions for the same core reasons (loyalty, freedom, etc.), but they believe that these values should be demonstrated in different ways. In this case, the soldiers' belief, although violent and horrible, was motivated by the same core values (freedom, patriotism, etc.) as the war effort from Americans at home who condemned this form of torture.
justifie
The wording 'justified' reminds me of the of old question of, is the good of many justifying the hurting of few. What about the word freedom was able to convince people what they are doing is politically or morally sound?
This practice of freedom disrupted in-digenous political systems and land relationships in order to be free frommonarchy, a freedom that continues to this day in ongoing settler practicesof land appropriation and cultural erasure.
This reminds me of the definition of freedom my group thought of in class, which incorporated a portion about not infringing on the freedom of others. I think in this example it's pretty obvious that the freedom of the indigenous peoples was infringed upon by the colonists, but it does beg the question of how much infringement is too much, and where to draw the line on how far you can go to attain your own freedom.
Why not? This is my time. I’m paying
reminds me of sex work
also don't ever give someone an unsolicited code review on Twitter. It's rude.)
This reminds me of people who have encountered others complaining about/getting involved with something that the speaker has decided "isn't any of their business" (e.g. telling someone without a handicap placard not to park in a handicap space) who then go on and rant about it and demand that others not to tell them what to do.
In other words:
Don't ever make unprompted blanket criticism+demands like saying "Don't ever [do something]. It's rude." That's rude.