after-the fact testimony, war crime trial and memory guilt?

CO2 is a proxy for human population size.<br /> the problem is global overpopulation, but no one has the balls to face it

gemeinschaftsfremde - enemies of the community

hiding behind objectivity. ppl saying things and being like well its just fact w/o the ability to double check

brah

not exactly a bait and switch but somewhere along those lines, hitler gained loyalty by kicking out communism and then harnessed the goodwill to be like "you know what else we need to do"

nazis enforced the creation of aryan archives and forced the destruction of jewish ones, creating an imbalance in how much material there was in order to control the historical narrative

https://www.vaultofculture.com/nst

• for: key insight - modernity framework is the major narrative, quote - modernity framework is the major narrative

• key insight: modernity framework is the major narrative

• quote: modernity framework is the major narrative
  • the official fantasy of the 20th century after the war but now also the 21st century is this that
    • of course they will all become like us
      • after the war we called it development
      • they were then third world countries would become first world
      • some second world countries as well
    • and the interesting thing is is that fundamentally that really hasn't changed
    • if you scratch under the paint of the UN's sustainable development goals what you find is they want to take the very best fruits of modernity and make them in a fair way distribute them more evenly across the planet so that everybody has the advantages of a modern life and
    • as Bill (Reese) suggested, that's a fantasy that isn't going to happen
    • there isn't enough planet for that to happen but
    • nevertheless this is the official fantasy that drives
      • the OECD and
      • the folks at Davos and
      • the UN and
      • most universities

This sort of Whig History example seems to be cropping up again in the early 21st century as Republicans are basing large pieces of their beliefs/identity/doctrine on portions of The Federalist Papers which were marginally read at the time they were written, but because those historical documents appear to make their current positions look "right" today, they're touting them over the more influential Federalist tracts at the time of the founding of America.

Link this to example of this (which I can't seem to find right now.)

Using stream of consciousness for writing, as a narrative form (for me, this portrays more authenticity, maybe even a way to communicate inspirations as it first strook the person, without filter).

Ulysses can be considered as an alter ego of Levi in ‘Il canto di Ulisse’ and other passages of the writer’s works. By considering the nature of the link between the author and the classical hero, we can also clarify the reasons behind Levi’s choice of presenting to Pikolo the core episode of canto 26 of Dante’s Inferno. Levi himself connects his experience to that of Ulysses in a 1973 interview, where he states: ‘[M]i ero reso conto che proprio il canto di Ulisse era abbastanza importante, perché è un’evasione anche quella: cioè ero evaso raccontando di un’altra evasione. Questo Ulisse che si strappa dalla vita quotidiana per fare un viaggio che non ha ritorno: mi sembrava che avesse una vaga analogia con la [mia realtà]’ (OC III, 988).

First, Levi underlines the parallel between his condition of deportee and that of Ulysses, driven by his nature and fate (‘fortuna’?) to embark on a journey without return. On a smaller scale, in ‘Il canto di Ulisse’ we also find one of the few physical movements in SQ – Primo and Jean’s trip to collect the soup. The chapter also represents a textual journey, where, while reading about Primo translating and interpreting Dante’s canto for Jean, we follow the path towards knowledge of the two characters. Finally, we can read it as a sentimental journey: the chapter is a nostos, a (temporary) memorial homecoming of the two protagonists to their homes and pre-Auschwitz lives. In the chapter, there is a constant superimposition of the experience and memory of Dante’s Ulysses with those of Levi (and Pikolo). Far from his home and family, Dante’s character sees Mount Purgatory in the distance before the shipwreck; this episode triggers in Levi the memory of the Piedmontese Alps he used to see on the horizon while going back home by train: ‘E le montagne, quando si vedono di lontano…le montagne…oh Pikolo, Pikolo, di’ qualcosa, parla, non lasciarmi pensare alle mie montagne, che comparivano nel bruno della sera quando tornavo in treno da Milano a Torino!’

When we consider the presence of Ulysses in Levi’s works, we should not only think of the Commedia. We must consider Homer’s Ulysses too, a character appreciated by Levi since his high-school years and often remembered in his writings and interviews. If we analyse Levi’s quotes from the Odyssey, we can find further points of contact emerging between Levi and his alter ego. We can start with the episode of Ulysses’ deception of Polyphemus, quoted explicitly in the chapter ‘L’ultimo’ in SQ. Here Levi narrates that as he was leaving the shower, ‘un fiduciario del Block si installa sulla porta, e tasta come Polifemo chi esce per sentire se è bagnato’. Primo and Alberto manage to trick the guard and even gain a generous amount of bread from their kombinacja. The common ground between the Greek hero and Levi are versatility and resourcefulness, the most famous traits of Homer’s Ulysses.

Levi considered this episode of the Odyssey crucial and included it also in his auto-anthology La ricerca delle radici with the title ‘Un uomo da nulla’. First of all, the physical description of Ulysses in the passage quoted in La ricerca delle radici – the hero is described as ‘un uomo da nulla, slombato, piccino’ – recalls Levi’s aspect in SQ. More importantly, the whole passage quoted by Levi revolves around the double name and identity of Ulysses. Introducing the excerpt, the writer notices that, while talking to Polyphemus, Ulysses ‘è fiero del suo nome, che finora aveva taciuto’. The name Nobody, chosen by Ulysses to fool the cyclops, recalls the loss of individual identity and the attribution of a new name (the number tattooed on the forearm) to Auschwitz prisoners.

In this sense, Ulysses can be seen not only as an alter ego of Levi, but also as an allegory of the Jews detained in Lagers. This is true also for some aspects of Dante’s Ulysses, as we can read in Levi’s comment to ‘Il canto di Ulisse’ in the notes to the school edition of SQ: ‘In quell’istante, all’autore pare di intravvedere una conturbante analogia fra il naufragio di Ulisse e il destino dei prigionieri: l’uno e gli altri sono stati paradossalmente “puniti”’. In his narration of Ulysses’ shipwreck, Dante tells us that everyone on the boat is punished and dies. If we go back to consider the story of Homer’s Ulysses instead, the character could instead be an example of being ‘saved’. Having wandered for ten years, he was finally able to return to Ithaca, just as Levi managed to go back to Turin. Ulysses’ fellows represent instead the ‘drowned’, just like the majority of the prisoners detained in Levi’s barrack.

A final, crucial shared aspect linking Levi to Homer’s Ulysses is the narrative ability and the urge to relate his misadventures to others. The ethical need to share with others the trauma of Auschwitz is strong in Levi already during his detention and impelled him to write SQ. In the 1976 Appendix to the book, he remembers that ‘era talmente forte in noi il bisogno di raccontare, che il libro avevo incominciato a scriverlo là’ (OC I, 281). Levi will reconsider his previous accounts of the Lager from a new perspective in the 1970s. On several occasions, he compares the urge to communicate his experience of the concentration camp to Ulysses’ narration of his decade-long wanderings at the court of Alcinous. In I sommersi e i salvati, Levi adopts this comparison as the opening of the chapter ‘Stereotipi’, writing: ‘[È] bello sedere al caldo, davanti al cibo ed al vino, e ricordare a sé ed agli altri la fatica, il freddo e la fame: così subito cede all’urgenza del raccontare, davanti alla mensa imbandita, Ulisse alla corte del re dei Feaci’. Ulysses is seen here as a prototypical model of the oral narrator and the founder of the genre of the memorial accounts of the survivor (‘reduce’) of traumatic events. Thus, an alter ego not only of Levi as a character but also of Levi as writer.

MM

As Levi writes in the preface to the theatrical adaptation of SQ - produced in collaboration with Pietro Alberto Marché - all those imprisoned in the Lager hoped to find an attentive audience: ‘speravamo non di vivere e raccontare, ma di vivere per raccontare. È il sogno dei reduci di tutti i tempi, e del forte e del vile, del poeta e del semplice, di Ulisse e del Ruzante’ (OC I, 1195). In this chapter, therefore, Ulysses’s canto does not simply identify the monologue of Dante’s Ulysses, which Levi painfully pieces together from memory and translates for Pikolo; it also signifies the song of the hero who has survived his ordeal and is eager to tell his story to anyone who is willing to listen. Levi drew inspiration for his radio and theatre adaptations of SQ from an earlier, independent radio program on Canadian national radio. Levi praises this experiment for its ability to capture the lack of communication, aggravated by the confusion of languages, that had been a central device in the Lager’s machine of dehumanisation and annihilation. As Levi reports, the Canadian authors explained their decision not to translate the bits of dialogues in different languages to convey the author’s experience, ‘perché questo isolamento è la parte fondamentale della sua sofferenza, e la sofferenza, sua e di tutti i prigionieri, scaturiva dal proposito deliberato di espellerli dalla comunità umana, di cancellare la loro identità, di ridurli da uomini a cose’ (OC I, 1196). Tellingly, the moment of catharsis between Levi and Pikolo is made possible by the act of translation, the only instrument capable of redeeming the Babelic confusion of languages.

A willingness to listen, however, is the key precondition for successful communication and a veritable ‘flaw of form’ in the universe of the Lager, especially when this attitude is displayed by someone (like Pikolo) who enjoys a superior position in the camp’s hierarchy. Levi’s gratuitous election to be Pikolo’s travelling companion in the journey to the kitchen, and Pikolo’s openness to listen, may be fittingly celebrated through a subversive reinterpretation of Ulysses’s last words, ‘come altrui piacque’. Could this be part of the unspoken realisation that is capable of reshaping, albeit only contingently, Levi’s own understanding of their condition in the Lager?

In two contiguous short stories from Lilít e altri racconti, Levi further elaborates on the ethical imperative to listen that is at the heart of ‘Il canto di Ulisse’. He also reworks the same narrative situation and Dantean subtext from ‘Il canto di Ulisse’, but inverts the characters’ roles and their symbolic movement outside the ‘infernal’ hole (see also the story ‘Capaneo’).

In ‘Lilít’, a heavy downpour of rain makes it impossible for prisoners to work and compels them to find shelter and temporary rest. Levi slides into a large pipe. From the other side of the pipe, another inmate known as Tischler enters. Tischler spends this recreational time sharing with Levi the story of Lilít. According to some Kabbalistic interpretations of the Bible, Lilít was Adam’s first wife. For rebelling against both Adam and God, she was turned into a devil and eventually became God’s mistress. Their union continues today and is the cause of evil and suffering in the world. Tischler teases Levi for not knowing this story and jokes about Levi being an Epicurean like all other Westerner Jews. The use of the label ‘Epicurean’ to define the ‘miscredenti’, I suggest, gestures to the subtext of Dante’s Inferno 10, where the sin of heresy is named precisely as Epicurus’s sin. Those punished for this sin are condemned to burn in a sarcophagus. Each sarcophagus houses several souls who, like Levi and Tischler, must share the same narrow space, but, crucially, are uninterested in communicating with each other. (Indeed some of Tischler’s phrasing echoes Dante: e.g. verrà un potente… farà morire Lilít’, and cf. Inf. 1.101-02.) This Dantean reminiscence is not the only element that links ‘Lilít’ to ‘Il canto di Ulisse’. Both stories recount a successful act of communication and storytelling in the Lager. But there are two significant inversions: this time, the protagonists move inside a hollow space and Levi is the one who plays the part of the attentive listener. This shift, I believe, is signalled in the text by Tischler’s injunction: ‘perché oggi la mia parte è di raccontare e di credere: l’incredulo oggi sei tu’ (OC II, 252; emphasis added). Tischler’s words seem to echo Levi’s thoughts in ‘Il canto di Ulisse’ that ‘Se Jean è intelligente capirà. Capirà: oggi mi sento da tanto’. That Tischler plays the part that had been Levi’s in his dialogue with Pikolo is further confirmed by the former’s gesture of sharing an apple with Levi, before telling his story, as a way to celebrate their common birthday. This act amounted to blasphemy in the Lager, where everyone used every means to survive, even stealing food from other inmates. In ‘Il canto di Ulisse’, Levi tells us that, like Tischler, he would be willing to give up his daily ration of food in exchange for being able to remember Dante’s text correctly and share it with Pikolo: ‘Darei la zuppa di oggi per saper saldare “non ne avevo alcuna” col finale’. Like Pikolo, and unlike Dante’s Epicureans, Levi pays attention to Tischler’s story and, by retelling it, saves it from annihilation.

In ‘Un discepolo’, Levi is back in the underground tank and, as with Pikolo, he is trying to translate to another Häftling, Bandi, the text of a letter from his family that had been smuggled into the camp by an Italian worker. The episode is almost identical to the one narrated in ‘Il canto di Ulisse’. Once again, moreover, Levi emphasises his listener’s attention: ‘Bandi mi ascoltava con attenzione: non poteva certo capire molto, perché il tedesco non era la mia lingua né la sua, e poi perché il messaggio era scarno e reticente. Ma capì quello che era essenziale’ (OC II, 258; emphasis added). Bandi also shares food with Levi. Hence, the act of sharing/giving up food becomes a physical marker of their desire to share their lives through human communication and let themselves be nurtured by it.

For Levi, the real protagonists of these exceptional acts of communication in the Lager are not the messengers but the listeners. Those, in other words, who were able to resist the continuous and exhausting process of reification enforced by the camp and could muster enough human empathy and curiosity to listen con attenzione.

FG

Similarly in the story ‘Lilít’, Levi describes as ‘sweet’ and ‘ferocious’ his chance encounter in the Lager with a woman: ‘A quel tempo capitava di rado di vedere una donna da vicino, ed era un’esperienza dolce e feroce, da cui si usciva affranti’ (OC II, 251). Tellingly, the story also recounts a rare moment of human warmth and respite from work during which Levi bonded with a fellow prisoner, Tischler, thanks to the power of narrative – Tischler told him the story of Lilìt.

EL

Similarly in the story ‘Lilít’, Levi describes as ‘sweet’ and ‘ferocious’ his chance encounter in the Lager with a woman: ‘A quel tempo capitava di rado di vedere una donna da vicino, ed era un’esperienza dolce e feroce, da cui si usciva affranti’ (OC II, 251). Tellingly, the story also recounts a rare moment of human warmth and respite from work during which Levi bonded with a fellow prisoner, Tischler, thanks to the power of narrative - Tischler told him the story of Lilìt.

EL

This “qui” is a fulcrum around which the temporal and spatial dimensions of Levi’s narrative turn. After Levi’s initial passato remoto (‘Passò una SS’) shifts to present-tense narration (‘È Rudi’) in paragraph 15, Primo and Pikolo’s itinerant conversation unfolds in the now. Levi then develops an analogous spatial proximity with his insistence on the demonstrative “questo”, culminating in paragraph 28 (beginning ‘Pikolo mi prega…’), where he twice uses the word “qui”: in the first instance indicating the “hereness” of yet another gap in his memory; in the second, in ‘... come si dice qui’, effectively erasing any distance between the episode and its narration.

LI

• Persecution complex
  • One of the most widely and deeply spread memes, and corresponding behavior within Evangelical Christians is a persecution complex
  • This is a attitude of righteousness and feeling attacked for holding their righteous views
  • This meme and accompanying behavior appeals to base emotion of fear to shut down intelligent conversation
  • It makes them impervious to constructive criticism

• Persecution complex
  • One of the most widely and deeply spread memes, and corresponding behavior within Evangelical Christians is a persecution complex
  • This is a attitude of righteousness and feeling attacked for holding their righteous views
  • This meme and accompanying behavior appeals to base emotion of fear to shut down intelligent conversation
  • It makes them impervious to constructive criticism

This “qui” is a fulcrum around which the temporal and spatial dimensions of Levi’s narrative turn. After Levi’s initial passato remoto (‘Passò una SS’) shifts to present-tense narration (‘È Rudi’) in paragraph 15, Primo and Pikolo’s itinerant conversation unfolds in the now. Levi then develops an analogous spatial proximity with his insistence on the demonstrative “questo”, culminating in paragraph 28 (beginning ‘Pikolo mi prega…’), where he twice uses the word “qui”: in the first instance indicating the “hereness” of yet another gap in his memory; in the second, in ‘... come si dice qui’, effectively erasing any distance between the episode and its narration.

LI

As Levi writes in the preface to the theatrical adaptation of SQ - produced in collaboration with Pietro Alberto Marché - all those imprisoned in the Lager hoped to find an attentive audience: ‘speravamo non di vivere e raccontare, ma di vivere per raccontare. È il sogno dei reduci di tutti i tempi, e del forte e del vile, del poeta e del semplice, di Ulisse e del Ruzante’ (OC I, 1195). In this chapter, therefore, Ulysses’s canto does not simply identify the monologue of Dante’s Ulysses, which Levi painfully pieces together from memory and translates for Pikolo; it also signifies the song of the hero who has survived his ordeal and is eager to tell his story to anyone who is willing to listen. Levi drew inspiration for his radio and theatre adaptations of SQ from an earlier, independent radio program on Canadian national radio. Levi praises this experiment for its ability to capture the lack of communication, aggravated by the confusion of languages, that had been a central device in the Lager’s machine of dehumanisation and annihilation. As Levi reports, the Canadian authors explained their decision not to translate the bits of dialogues in different languages to convey the author’s experience, ‘perché questo isolamento è la parte fondamentale della sua sofferenza, e la sofferenza, sua e di tutti i prigionieri, scaturiva dal proposito deliberato di espellerli dalla comunità umana, di cancellare la loro identità, di ridurli da uomini a cose’ (OC I, 1196). Tellingly, the moment of catharsis between Levi and Pikolo is made possible by the act of translation, the only instrument capable of redeeming the Babelic confusion of languages.

A willingness to listen, however, is the key precondition for successful communication and a veritable ‘flaw of form’ in the universe of the Lager, especially when this attitude is displayed by someone (like Pikolo) who enjoys a superior position in the camp’s hierarchy. Levi’s gratuitous election to be Pikolo’s travelling companion in the journey to the kitchen, and Pikolo’s openness to listen, may be fittingly celebrated through a subversive reinterpretation of Ulysses’s last words, ‘come altrui piacque’. Could this be part of the unspoken realisation that is capable of reshaping, albeit only contingently, Levi’s own understanding of their condition in the Lager?

In two contiguous short stories from Lilít e altri racconti, Levi further elaborates on the ethical imperative to listen that is at the heart of ‘Il canto di Ulisse’. In these stories, I argue, Levi reworks the same narrative situation and Dantean subtext from ‘Il canto di Ulisse’, but inverts the characters’ roles and their symbolic movement outside the ‘infernal’ hole (see also the story ‘Capaneo’).

In ‘Lilít’, a heavy downpour of rain makes it impossible for prisoners to work and compels them to find shelter and temporary rest. Levi slides into a large pipe. From the other side of the pipe, another inmate known as Tischler enters. Tischler spends this recreational time sharing with Levi the story of Lilít. According to some Kabbalistic interpretations of the Bible, Lilít was Adam’s first wife. For rebelling against both Adam and God, she was turned into a devil and eventually became God’s mistress. Their union continues today and is the cause of evil and suffering in the world. Tischler teases Levi for not knowing this story and jokes about Levi being an Epicurean like all other Westerner Jews. The use of the label ‘Epicurean’ to define the ‘miscredenti’, I suggest, gestures to the subtext of Dante’s Inferno 10, where the sin of heresy is named precisely as Epicurus’s sin. Those punished for this sin are condemned to burn in a sarcophagus. Each sarcophagus houses several souls who, like Levi and Tischler, must share the same narrow space, but, crucially, are uninterested in communicating with each other. (Indeed some of Tischler’s phrasing echoes Dante: e.g. verrà un potente… farà morire Lilít’, and cf. Inf. 1.101-02.) This Dantean reminiscence is not the only element that links ‘Lilít’ to ‘Il canto di Ulisse’. Both stories recount a successful act of communication and storytelling in the Lager. But there are two significant inversions: this time, the protagonists move inside a hollow space and Levi is the one who plays the part of the attentive listener. This shift, I believe, is signalled in the text by Tischler’s injunction: ‘perché oggi la mia parte è di raccontare e di credere: l’incredulo oggi sei tu’ (OC II, 252; emphasis added). Tischler’s words seem to echo Levi’s thoughts in ‘Il canto di Ulisse’ that ‘Se Jean è intelligente capirà. Capirà: oggi mi sento da tanto’. That Tischler plays the part that had been Levi’s in his dialogue with Pikolo is further confirmed by the former’s gesture of sharing an apple with Levi, before telling his story, as a way to celebrate their common birthday. This act amounted to blasphemy in the Lager, where everyone used every means to survive, even stealing food from other inmates. In ‘Il canto di Ulisse’, Levi tells us that, like Tischler, he would be willing to give up his daily ration of food in exchange for being able to remember Dante’s text correctly and share it with Pikolo: ‘Darei la zuppa di oggi per saper saldare “non ne avevo alcuna” col finale’. Like Pikolo, and unlike Dante’s Epicureans, Levi pays attention to Tischler’s story and, by retelling it, saves it from annihilation.

In ‘Un discepolo’, Levi is back in the underground tank and, as with Pikolo, he is trying to translate to another Häftling, Bandi, the text of a letter from his family that had been smuggled into the camp by an Italian worker. The episode is almost identical to the one narrated in ‘Il canto di Ulisse’. Once again, moreover, Levi emphasises his listener’s attention: ‘Bandi mi ascoltava con attenzione: non poteva certo capire molto, perché il tedesco non era la mia lingua né la sua, e poi perché il messaggio era scarno e reticente. Ma capì quello che era essenziale’ (OC II, 258; emphasis added). Bandi too shares food with Levi. Hence, the act of sharing/giving up food becomes a physical marker of their desire to share their lives through human communication and let themselves be nurtured by it.

For Levi, the real protagonists of these exceptional acts of communication in the Lager are not the messengers but the listeners. Those, in other words, who were able to resist the continuous and exhausting process of reification enforced by the camp and could muster enough human empathy and curiosity to listen con attenzione.

FG

Similarly in the story ‘Lilít’, Levi describes as ‘sweet’ and ‘ferocious’ his chance encounter in the Lager with a woman: ‘A quel tempo capitava di rado di vedere una donna da vicino, ed era un’esperienza dolce e feroce, da cui si usciva affranti’ (OC II, 251). Tellingly, the story also recounts a rare moment of human warmth and respite from work during which Levi bonded with a fellow prisoner, Tischler, thanks to the power of narrative - Tischler told him the story of Lilìt.

EL

Question - Who is controlling and advocating - the dominant techno-based NET narrative? - This narrative creates many scenarios that carry strong colonialist assumptions that perserve existing inequalities - Whilst IAM scientists strive to work with integrity, the fundamental framing narrative constrains their work to support ethically questionable recommendations - reference the work of Kanitkar et al.https://theprint.in/environment/why-indian-scientists-are-critiquing-ipcc-report-unfair-burden-on-developing-countries/1298871/

This is where complexity comes in, teasing out narratives and recombine them into probes, probing actions that may changes the weights of narratives and mental models held about a situation. Not diagnostics, but building the path towards diagnostics. Vgl [[Probe proberend handelen 20201111162752]] [[Vertelpunt 20201111170556]]

!- comment : dominant narrative of international development - using the tool of EORA I/O tables, the authors refute this argument and transparently show what is happening - the continuation of colonialism extractionism through the vehicle of unequal exchange structurally built into trade inequality unilaterally imposed upon the Global South

Goutor only mentions two potential organizational patterns for creating output with one's card index: either by chronological order or topical order. (p34) This might be typical for a historian who is likely to be more interested in chronologies and who would have likely noted down dates within their notes.

Tracy and I would've been more interested in seeing more depictions of the negative aspects of religion which weren't addressed enough. A good example of this would've been possibly the Salem Witch Trials and the Last Judgement.

From Friday 2022-07-29 evening:

Narrative String Theory<br /> Sherlock Holmes: A Game of Shadows (Warner Bros., 2011) has background NST boards at approx 17:22 and 1:18:46.

Currently available on Netflix. If you're careful with timing you can get some fun facial expressions out of Holmes and Watson on one of them.

https://www.imdb.com/title/tt1515091/

In addition to deduction and induction, narrative, as identified by Aristotle, can be a form of argument.

https://www.zylstra.org/blog/2022/06/spring-83/

I've been thinking about this sort of thing off and on myself.

I too almost immediately thought of Fraidyc.at and its nudge at shifting the importance of content based on time and recency. I'd love to have a social reader with additional affordances for both this time shifting and Ton's idea of reading based on social distance.

I'm struck by the seemingly related idea of @peterhagen's LindyLearn platform and annotations: https://annotations.lindylearn.io/new/ which focuses on taking some of the longer term interesting ideas as the basis for browsing and chewing on. Though even here, one needs some of the odd, the cutting edge, and the avant garde in their balanced internet diet. Would Spring '83 provide some of this?

I'm also struck by some similarities this has with the idea of Derek Siver's /now page movement. I see some updating regularly while others have let it slip by the wayside. Still the "board" of users exists, though one must click through a sea of mostly smiling and welcoming faces to get to it the individual pieces of content. (The smiling faces are more inviting and personal than the cacophony of yelling and chaos I see in models for Spring '83.) This reminds me of Stanley Meyers' frequent assertion that he attempted to design a certain "sense of quiet" into the early television show Dragnet to balance the seeming loudness of the everyday as well as the noise of other contemporaneous television programming.

The form reminds me a bit of the signature pages of one's high school year book. But here, instead of the goal being timeless scribbles, one has the opportunity to change the message over time. Does the potential commercialization of the form (you know it will happen in a VC world crazed with surveillance capitalism) follow the same trajectory of the old college paper facebook? Next up, Yearbook.com!

Beyond the thing as a standard, I wondered what the actual form of Spring '83 adds to a broader conversation? What does it add to the diversity of voices that we don't already see in other spaces. How might it be abused? Would people come back to it regularly? What might be its emergent properties?

It definitely seems quirky and fun in and old school web sort of way, but it also stresses me out looking at the zany busyness of some of the examples of magazine stands. The general form reminds me of the bargain bins at book stores which have the promise of finding valuable hidden gems and at an excellent price, but often the ideas and quality of what I find usually isn't worth the discounted price and the return on investment is rarely worth the effort. How might this get beyond these forms?

It also brings up the idea of what other online forms we may have had with this same sort of raw experimentation? How might the internet have looked if there had been a bigger rise of the wiki before that of the blog? What would the world be like if Webmention had existed before social media rose to prominence? Did we somehow miss some interesting digital animals because the web rose so quickly to prominence without more early experimentation before its "Cambrian explosion"?

I've been thinking about distilled note taking forms recently and what a network of atomic ideas on index cards look like and what emerges from them. What if the standard were digital index cards that linked and cross linked to each other, particularly in a world without adherence to time based orders and streams? What does a new story look like if I can pull out a card either at random or based on a single topic and only see it or perhaps some short linked chain of ideas (mine or others) which come along with it? Does the choice of a random "Markov monkey" change my thinking or perspective? What comes out of this jar of Pandora? Is it just a new form of cadavre exquis?

This standard has been out for a bit and presumably folks are experimenting with it. What do the early results look like? How are they using it? Do they like it? Does it need more scale? What do small changes make to the overall form?

For more on these related ideas, see: https://hypothes.is/search?q=tag%3A%22spring+%2783%22

Missing here is the creative divergence of creating plot points which could be later connected. This part of the process is incredibly difficult for many as seen in the poor second act development in most of narrative history. Beginnings and endings are usually incredibly easy, but the middle portions for connecting the two is incredibly hard.

Is this because creating connections between the ends when there no intervening ideas to connect is nearly impossible? How can one brainstorm middle plot points so that they might be more easily connected?

Historians need to be cautious not to take a whiggist and teleological view of historical events. They should be careful to place events into their appropriate context to be able to evaluate them accurately.

The West, in particular, has a tendency to discount cultural contexts and view human history as always bending toward improvement when this is not the case.

link to Dawn of Everything notes

Stefan Simanowitz. (2021, March 18). 1/. The PM claims that the govt “stuck to the science like glue” But this is not true At crucial times they ignored the science or concocted pseudo-scientific justifications for their actions & inaction This thread, & the embedded threads, set them out https://t.co/dhXqkSL1bz [Tweet]. @StefSimanowitz. https://twitter.com/StefSimanowitz/status/1372460227619135493

Dr. Syra Madad. (2021, February 7). What we hear most often “talk to your health care provider if you have any questions/concerns on COVID19 vaccines” Vs Where many are actually turning to for COVID19 vaccine info ⬇️ This is also why it’s so important for the media to report responsibly based on science/evidence [Tweet]. @syramadad. https://twitter.com/syramadad/status/1358509900398272517

A Narrative Framework for Understanding Experiences of People With Severe Mental Illnesses - https://is.gd/5pC1pA - urn:x-pdf:1e3bc85eda04e09f205615c0874637bb

Evershed, N. (n.d.). The simple numbers every government should use to fight anti-vaccine misinformation. The Guardian. Retrieved January 30, 2022, from https://www.theguardian.com/news/datablog/ng-interactive/2022/jan/28/the-simple-numbers-every-government-should-use-to-fight-anti-vaccine-misinformation

Is there a reason or cognitive bias we've got that would tend to make us think that there's a teleological outcome in these cases?

Why should it seem like there would be a foregone conclusion to all of human life or history? Why couldn't/shouldn't it just keep evolving from its current context to the next

A qualitative narrative design

Adler, J. M., & Wang, K. (2021). Narrative identity among people with disabilities during the COVID-19 pandemic: The interdependent self. PsyArXiv. https://doi.org/10.31234/osf.io/6724x

It is critical to create stories and narratives of what an ecologically regenerative society living within planetary boundaries looks like at a local level that we are familiar with. We need enliven and enact futures studies and backcast to our current reality.

Imaginative storytelling by the artists is critical at this time so that we can imagine and not be so afraid of what a transformed future looks like. Indeed, if we do it right, it can be FAR BETTER than our current unbalanced civilization.

Interesting to note this shift in narrative style. How can one interpret this from the perspective of orality versus literacy?

Shahsavari, S., Holur, P., Wang, T., Tangherlini, T. R., & Roychowdhury, V. (2020). Conspiracy in the time of corona: automatic detection of emerging COVID-19 conspiracy theories in social media and the news. Journal of Computational Social Science, 3(2), 279–317. https://doi.org/10.1007/s42001-020-00086-5

Quantifying The COVID-19 Public Health Media Narrative Through TV & Radio News Analysis – The GDELT Project. (n.d.). Retrieved May 14, 2021, from https://blog.gdeltproject.org/quantifying-the-covid-19-public-health-media-narrative-through-tv-radio-news-analysis/

Vaccine Misinformation Insights Report: June. (n.d.). First Draft. Retrieved 4 August 2021, from https://firstdraftnews.org:443/long-form-article/vaccine-misinformation-insights-report-june/

I love that after the break, he brings it back around to something from the beginning to close things out nicely. Something done by the best writers and usually the best comedians).

Create some context, then use that context to your advantage.

Blastland, M., Freeman, A. L. J., Linden, S. van der, Marteau, T. M., & Spiegelhalter, D. (2020). Five rules for evidence communication. Nature, 587(7834), 362–364. https://doi.org/10.1038/d41586-020-03189-1

Read the abstract. Sounds generally fascinating not to mention the Stuart Kauffman source.

Lutkenhaus, R. O., Jansz, J., & Bouman, M. P. A. (2019). Mapping the Dutch vaccination debate on Twitter: Identifying communities, narratives, and interactions. Vaccine: X, 1. https://doi.org/10.1016/j.jvacx.2019.100019

Every company is described by a set of data, financial and other operational metrics, next to message exchange and paper documents. What else we find that contributes to the simulacrum of an economic narrative will undeniably be constrained by the constitutive forces of its source data.

Powerful Headline (words) from a Washington Post article under Economic Policy. WORDS.....! Words..... When you study Legal Theory you learn that "words" play a significant role in all aspects of social order.

Controlling the rhetoric with consistent narrative

This statement simply implies the use of consistent narrative (story) to allow control of the rhetoric. Narrative can be viewed as believable while Rhetoric is a general pejorative. When the rhetoric is mis or dis-information the narrative must be credible.

Main stream media (MSM) has held a long-term standing across the world as being credible. This standing is eroding. It has eroded considerably over the last 25 years among critical thinkers and the general population has started to take notice.

I question everything from MSM especially when narrative is duplicated with identical rhetoric across known government media assets. History is a wonderful thing when searching for Truth. Events in historical time periods can be researched, parsed and studied for patterns based on future evidence and outcomes.

Information "Spin" is real and happens for one purpose, that purpose is to benefit a position, agenda, person, plan, etc., by manipulating (advertising, PR, propaganda) information. Spin is difficult to refute without hard facts. Spin has a short-term shelf life, but that is all it needs to chart a new course, set the "ball" in motion so to say.

History allows Truth to overcome Spin.

Jamison, A. M., Quinn, S. C., & Freimuth, V. S. (2019). “You don’t trust a government vaccine”: Narratives of Institutional Trust and Influenza Vaccination among African American and White Adults. Social Science & Medicine (1982), 221, 87–94. https://doi.org/10.1016/j.socscimed.2018.12.020

I think what the narrative of Incendies is trying to do is to first distinguish the mother's side of Oedipal desire from the male desire and then integrate them. Female characters are femininized as personified obstacles in traditional Oedipus story. The feminist narrative of Incendies seeks to contrast this idea by complicating the reality of Nawal in order to give her personalities, so her desire would not be subdued by the patriarchal desire. Therefore, the film has to focus on the desire of Nawal and her daughter first. The film also tries to challenge the traditional Oedipal narrative by integrating the double- identity of Simon/Nahid into that of Jeanne/Nawal through the blood tie they share, and suggests that they are all persecuted by the conflicts between two existing orders: Muslim and Christian. What the film is trying to do is to separate Nawal's reality from the patriarchal discourse, and to portray her as a misfit (in contrast to the feminized characters in Oedipus' story, where they all serve the Oedipal desire), so Nawal could not only have her own voice, but her desire can be fulfilled and outlive the patriarchal framework through the reunion of her children.

Is it simply a desire to be popular?

Cinelli, M., Morales, G. D. F., Galeazzi, A., Quattrociocchi, W., & Starnini, M. (2020). Echo Chambers on Social Media: A comparative analysis. ArXiv:2004.09603 [Physics]. http://arxiv.org/abs/2004.09603

Example of an effective and authentic narrative.

Johnson, S. G. B., Bilovich, A., & Tuckett, D. (2020, April 30). Conviction Narrative Theory: A Theory of Choice Under Radical Uncertainty. Retrieved from psyarxiv.com/urc96

Given that the Case studies were broken down by country, I would have expected at least the first paragraph of this section to bind the Case studies together from a policy diffusion/ policy learning perspective (e.g. in terms of more or less strenuous conditions during outbreaks or 'peacetime'), before zooming back in to highlight certain aspects from the Case studies.

I would have expected the Background section to set the stage for the case studies, not to sum up their results.

You've probably hit on our most secret desire here. That we could have this kind of cross-cutting impact.

"...the rhetoric of failure. Tragedy in games tends to find its procedural representation in this trope." (85)

"Political video games in the sense I have articulated above are characterized by procedural rhetorics that expose the logic of a political order, thereby opening a possibility for its support, interrogation, or disruption. Procedural rhetorics articulate the way political structures organize their daily practice; they describe the way a system “thinks” before it thinks about anything in particular." (90)

In thinking through This War of Mine, I'm interested in the notion that the game is designed to thwart winning, and indeed every choice the player makes bring them closer to survival or to morally bankrupt behavior or both. In many moments of the game's narrative, there are no good choices. In some play-throughs I have felt better allowing my characters to die than I have with exercising the power at my disposal, e.g. killing and robbing the old couple. And in a strange way, my characters seem to feel more comfortable with that choice, too. TWoM seems to fall somewhere in between Kabul Kaboom and traditional winnable games.

moralische Narrative der feministischen Ethik

Later in this section, Cunliffe and Coupland write:

"In summary, ‘making life sensible’ is a complex interweaving of self-other, of retrospective and prospective, discursive and embodied, routine and creative, explicit and intuitive sensemaking."

The narrating process is a "a complex interweaving of self-other, of retrospective and prospective, discursive and embodied, routine and creative, explicit and intuitive sensemaking."

Identity construction (who am I?, who are you?, who do I want to be in the future?) is an important factor here as the foundation by which socially constructed sensemaking is generated and justifications (narrative rationality) are staked out.

It's also incredibly messy, social, and contradictory -- all simultaneously.

The embodied process involves how we our bodies (everything except cognitive function) to make sense of our surroundings/situations. This embodied process includes emotions, physical self, language, gestures, actions, and lived experiences.

Polyphonic is described as multiple voices and multiple interpretations of the story element which, in turn, can produce competing narratives. There is also a subtle temporal nature to "making life sensible" as people attempt to apply narrative logic in the moment, to use retrospection to make sense of past events or to peer into the future.

Uses a more emotional, experiential, and embodied perspective for sensemaking through narrative is counter to the org studies POV that sensemaking is frequently a "deliberate, collaborative and unemotional process"

Cunliffe and Coupland's framework that contests Weick's perspective on sensemaking and proposes a new interpretative process that is temporal, embodied and performative.

See: Goffman (1978) The presentation of self in everyday life

While there are different theories to describe how narratives are constructed in organizations, Cunliffe and Coupland argue that "... narratives are the means by which we organize and make sense of our experience and evaluate our actions and intentions."

Narrative rationality takes sensemaking a step further and theorizes how people judge the merits of a narrative from discordant story elements.

Cunliffe and Coupland mention that people use probability, fidelity, plausibility, reliability, trustworthiness and wisdom of the constructed narrative and the narrator as ways to judge its rationality.

Description of embodied narrative sensemaking. Cunliffe and Coupland refer to these as plotlines:

• "Plotline 1: Making life sensible occurs in polyphonic, responsive and ongoing moments of embodied narrative performance"

• "Plotline 2: Making our life sensible enough to go on is an embodied process"

• "Plotline 3: Making life sensible is as much about who we are as about narrating events and experiences"

Ricoeur claims there are temporal elements to sensemaking

Get this paper

Unsure about whether Merleau-Ponty's work also includes a temporal element. Get the paper.

Four features of everyday sensemaking:

• lived experience

• temporal

• polyphonic

• embodied

Extension of sensemaking theory

Justification definition.

Justification is used as a linkage in storytelling to connect the what/with/for elements.

See: Cunliffe and Coupland http://wendynorris.com/cunliffe-and-coupland-2011-from-hero-to-villain-to-hero-making-experience-sensible-through-embodied-narrative-sensemaking/

Here we find yet another personification of air, which enwraps the story with subtle layers of movement and circulation. We could trace this pattern, and its effects on narrative time and narrative progress, through concordances and dispersion plots of "air" and any wind-related words.

Temporal context definition.

Furthers the notion of narrative and how relationships between events/things is transformed into a cohesive whole which is necessary for sensemaking.

Narrative definition.

Developing the plot around the story elements is the most important element for sensemaking. It transforms a chronology/sequence of events into something more meaningful, more memorable,and more relatable.

There are quite a few religious references throughout the text, and not only in direct reference to the priest . I would be interesting to run they words using a narrative time analysis to see ho they are used through out the entire piece. I would also be interested in running a collocation analysis to see if they appear together frequently.

The narrator's description of the commercial ships, and his fantasy of sailing away from Dublin, briefly suspend the narrative, creating a temporal and spatial expansiveness that pressures the story's geographic containment. It would be interesting to track and investigate the language of imagination and fantasy throughout Dubliners with a concordance and collocations.

Mathew Bruff carefully anticipates the reader's objections, and tries to persuade him ("my dear sir") to reconsider his assessment of Godfrey Ablewhite. To better understand how and why The Moonstone's various narrators directly address readers, we could run a word collocation analysis and/or a sentiment analysis on each moment that features a narrator addressing a reader. Then, we would be informed enough to speculate about the extent to which such addresses prove effective.

This is an interesting inversion of the usual narrative about segregation (which would say that segregation hurt black Americans, and would rarely discuss its impacts on white Americans). It feels both like it grants agency-- in that black Americans are not being presented as a continually downtrodden group-- and that it is an attempt to legitimize the struggle against segregation, because if segregation is disastrous for white America then it is truly bad for America.

An example of a mode being used in an unintentionally effective way would be the aural mode of Flannery O’Connor’s voice as she reads her short story “A Good Man Is Hard To Find.” Before reading the linguistic content of her story, my high school professor played an audio recording of O’Connor reading this story in a ballroom theater.

O’Connor is a Southern author from Savannah, Georgia, so one of the first characteristics I noticed of her voice was its accent. Next, I noticed the bluntness with which she spoke. Her voice sounded rather dry and sarcastic at times, which perfectly illustrated, even softened the uncomfortable humor present in the story. I became so engrossed with the aural mode of O’Connor’s short story that once the linguistic mode caught up to me, I felt shocked by the grotesqueness of the events unfolding.

The aural mode of O’Connor’s reading deceived me and lured me into a state of selective-attentiveness, however, this deception worked well to demonstrate the content of her story. “A Good Man Is Hard To Find” is, itself, an illusory and misleading narrative that culminates in a dreadful tragedy which appears quite suddenly and viciously. Until one rereads the story and recognizes the points of foreshadowing present all along, O’Connor’s voice served an unintentional purpose of misleading the (in this case) listener.

https://www.youtube.com/watch?v=sQT7y4L5aKU

The decision of Welker, Lee, Clark, Van Buskirk, and Gill to name their dance company Terminus was intentional and purposive. The name Terminus comprises multiple elements of symbolism through which meaning can be derived. Terminus was one of Atlanta’s original names, and it describes the former setting of the Southern city. Terminus means “end of the line,” which indicates the spirited growth of Atlanta around the railroad’s stopping point between Georgia and the Midwest. Not only is the name Terminus historically significant to the company’s homebase city, but it is also metaphorically significant.

Photo of Tara Lee by Joseph Guay; Lee is a dancer for TMBT

To the dancers of Terminus, the “end of the line” simultaneously serves as the origin point of a new journey. Their inception as a dance company flourished from their conclusion with Atlanta Ballet, a significant chapter in all of these dancers’ careers. Tara Lee describes a terminus as an “intersection and meeting point of ideas” in which “people [come] together to create something new” (Freeman). She believes that this definition describes the Terminus Modern Ballet Theater dancers well. The name Terminus is multimodal because it evokes specific imagery related to the railroad as well as a symbolic interpretation critical to understanding the motivations and origin story of this ballet company. As the text demonstrates, understanding the full message of even a single word requires a multimodal analysis.

Questions one might ask:

Are there images associated with the word?

What is the word’s historical context?

How is the word presented?

Does it belong at the fore of the conversation?

Does it compete with and/or complement another mode?

As page 9 notes, "audio can also have visual impacts." This quote demonstrates the multi-modality of singular objects and subjects, a fact that exhibits the importance of multidimensional analysis. One of the panels on the AIDS Quilt contains a patch of leather, which has both a visual connotation and a distinct aural context. Leather evokes the Danny Zuko stereotype by conjuring images of enigmatic characters and inviting the sounds of rumbling motorcycles.

Cardiac monitoring, similarly, is a common image in popular media that also contains multiple influences and connotations. Cardiac monitoring is typically executed with electrocardiography, a machine that monitors a person’s cardiac rhythm. At its core, though, the sound of a heartbeat monitor relies on the heartbeat itself. Our pulse of life.

The human heartbeat is primal and intrinsic to our humanity. It betrays our fear and reveals our desires. Its visual and aural modes are ingrained within us all, for it is both a familiar sight, and a calming sound. The following short film presents the significance of our heartbeat in finding our truths, facing our fears, and embracing love. Relying heavily on visual and aural modes to encapsulate a story of heartache and romance, "In a Heartbeat" communicates a tale of love by personifying a famed motif, the heart itself.

https://www.youtube.com/watch?v=2REkk9SCRn0

One of the activities in our class textbook, Guide to First-Year Writing (6th Edition), asks us to “consider a song as an argument” (70). This activity (activity 2.12, found in chapter two) requires the participant to locate a song that appears to make an argument and answer the activity’s given questions. For this exercise, I chose the song “Love Is Dead” by Estonian musician Kerli.

The title alone presents Kerli’s argument: love is dead. Answering the activity’s given questions, however, caused me to contemplate Kerli’s song as a complex communicative device; I soon realized that Kerli’s message is not as simplistic as the title implies. In my response, I hypothesize that Kerli is a mistress who has made the difficult decision to leave a secret relationship. By referencing lyrics that support my interpretation of the song’s argument, I was able to appreciate the narrative present in the song, and analyze its method of storytelling.

Previously, I felt most drawn to the aural mode of “Love Is Dead,” however, this activity prompted my explicit admiration of the song’s linguistic mode as well. Through the following questions, I discuss how and why the linguistic mode of the song’s argument is supported by its aural mode:

How would you describe the musical style of the song? In what ways does the style of singing and instrumentation help convey the rhetorical argument?

Here is a snippet of my response:

*The composition of the piece seems to describe the navigation of a dangerous path. It’s as if one has to look over one’s shoulder while listening to this song. By employing a sense of danger, the ballad mimics the traitorous and deceptive nature of Kerli’s secret relationship.

In the song, Kerli’s vocals are slightly distorted. She sounds as if she is singing from behind a glass wall, showing that she is both unsure of the words she is singing to herself, and afraid of being honest about her doubt of the worthiness of her relationship. The instrumentation is forceful and almost overpowers Kerli’s voice at times. One is never unaware of the thematic orchestra scoring Kerli’s ascent through perilous territory. As the song advances, however, Kerli’s angelic voice increases in power. She continuously repeats and chants variations of “love is dead, love is gone, love don’t live here anymore,” alternating between singing these words, chanting them, and crying them to the audience.*

As this article’s authors point out, the aural mode of media “signals information” even when we are not consciously aware of those signals.

At first, I only appreciated the superficiality of the composition of “Love Is Dead,” and simply recognized that it sounded good to me. I now realize, however, that the aural mode of the song also performs the deeper, more complex function of storytelling. The sound of Kerli’s song influences the emotions that I feel upon listening, and the imagery I conjure in accordance with the music.

Read the full response on my website, Postscript Reverie: My Analysis of "Love Is Dead"

https://www.youtube.com/watch?v=JBDiHFS1TjY

Moe excellently addresses how narrative and Elizabeth's ideas interferes (and mislabels) the possibilities of progressive and modern actions. Elizabeth ends her friendship with Charlotte (essentially) because of their difference of interpretation (of the "modern" action)

Something a reader should question, however, is the context of Darcy's comment. Does he say this because it's truly how he feels, or because he wants a wife in Elizabeth, as well? Also interesting how because Darcy makes opinion of Charlotte as a wife, it becomes assumed as "correct"

Moe engages her reader by posing a question. Further, Austen's consideration of the "small concerns" seems relevant to Burrows' argument that the small words largely matter to Austen's writing.

I think this is a very interesting insight. However, I think Moe does herself a disservice by briefly mentioning this finding without further description. Since part of her argument relies on narrative/text, a further exploration of this idea and Charlotte's particular language would have enhanced her many points.

Great point. Moe's description of Elizabeth and Darcy's connection through their "modern" misbehavior, as presented through narrative, addresses the points of her argument. However, this is quoted/paraphrased from a text (The Critical Review/Annals of Literature) from 1813, which I do not think is necessarily appropriate or relevant for such a modern (pardon the pun) article.

At first, this concept seems a bit unrelated to the article, as Moe begins to discuss Elizabeth Bennet's sensitivity and the impact of other characters' choices on her. However, this is Moe's method of bringing up narrative, again, as she describes Austen's methods of using narrative to expose this emotional, affected side to Elizabeth. She also bridges this back to the discussion of marriage and why Charlotte's marriage feels so personally offensive to Elizabeth.

Moe here argues that Austen manipulates Elizabeth's narrative to compare her own pain/conflict with Charlotte to that of Jane's with Bingley. Her analysis of Elizabeth's character strengthens her argument's credibility.

"Narrative about misjudgment and repentance" is essentially caused, in the case of Elizabeth and Charlotte, by conflicting modernities

How narrative informs the reader

This points to the discussion of narration. Moe reiterates her several theses by acknowledging the many aspects of her larger argument, as here she brings the reader back towards the narrative part of her discussion.

Austen uses narrative to exercise Jane's kindness and willingness to see the best in others.

It is important to relate the concept of cultural modernity and Charlotte's choices to narrative, as that is the main point of the argument (though Moe's thesis is not clearly stated just yet). Also fascinating to label all the minor characters are developmental aspects to Elizabeth; this is quite dehumanizing, but is quite arguable. Austen, therefore, purposefully has Charlotte marry Collins as part of further promoting Elizabeth's vehement feelings about marriage.

This is a helpful little encapsulation of the central problem in the debate.

In the way he is stating this it seems like if we ever came across opposing narratives the argument would go on forever and cause a blip in the story. Learning to live with people who don't think like you do is pretty necessary.

Facts count for nothing.

Excitement. - Career? Power? Attachment? Identification? Meaning? Numbers?

International.

Identification Narrative culture

Imaginary space. What shape does it have?

Modeling reflective practice.

Narrative connected

vulnerability storytelling child/adult Historical Body Discourses

Writer.

Blogger at least.

KEY "Whose story are we telling?"

innnovation outlier culture belonging belief

This narrative voice is interesting, considering the way he considers the problems of the author/narrator in the previous pages.

A "static" image / mural that reflects a continuum and a continuum. Paradoxically beautiful.

Why do you think Narayan ends this introductory paragraph with a picture of the tiger which contrasts with the characterisation which precedes it?

Consider here how fate plays with human expectations. Here, the name Attila symbolises the roles which the family hopes the dog to live up to. Then, there is hereditary genetics, which should bolster the family's hope.

Also, notice the time shift in the second paragraph. Why does Narayan begin with the naming of the dog and then go back in time?

See Narrative Techniques.

To me, this idea of writing that speaks and reveals information to a "director" is the very basic idea for what first person narratives are.

Furthermore, this idea of confessing to an audience through an interactive narrative translates to various media, as well. However, even though these confessions are seemingly necessary in textual renditions of narratives, they can often be misconstrued as more intrusive fourth wall breaks due to this change in media. This creates a very thin line between these confessions being additive to the narrative or if they take away from the overall intent of the author.

To keep this idea going still, upon researching the definition of "cogitationes," the definitions were either of self-reflection, thoughts, or the act of thinking; something clearly represented through Foucault's writing, but a connection I found interesting, nonetheless.

1) The animals were there for humans when they needed help. 2) They were created by the mother and father. 3) Human beings were created by the mother and father.

1) Human beings were created by birth from mother and father.

2) The father passed on his offspring and that his how they gained knowledge.

1) The animals were taking care of humans that were in need of help.

2) The difference was day and night. The mother and father both created the light and darkness in the day. Bringing the moon, sun and earth.

3) The sky-father created the moon and stars for the night time.

It is amazing how descriptive the world was made. The way things are being described in this document make me think of how peaceful this world was made to be. How come it could not be like this anymore?