tag:blogger.com,1999:blog-68784327020844582342024-02-18T18:24:23.291-08:00DenouementAn irregular blogJeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.comBlogger546125tag:blogger.com,1999:blog-6878432702084458234.post-30382385869504092162022-10-07T19:15:00.003-07:002022-10-07T19:15:13.375-07:00Family History: An Brief Ethnography<p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal">Tracking family history can be tricky. Most of it is oral
and the familiar parts get told so often that they become more than familiar, they become rote. That sense of over-familiarity can cause those stories to seem less important, less remarkable. At the same time, the character of these stories
are connected to their story-tellers. The moments around the dinner table
or standing around the kitchen after cleaning up from a birthday party or
Christmas dinner when some moment triggers a story. These are rarely recorded
but these stories are, for better or worse, fundamental to the way we consider
and remember our family histories. </p>
<p class="MsoNormal">For example, when my kids ask “what am I”, meaning what
nationality I tell them we’re Scottish but with an Irish last name. No one is
quite sure how that happened. There are vague stories of horse traders or maybe
even horse thieves but nothing for certain. The one thing I do know for certain
is that I’ve seen my last name is carved into the wall at Ellis Island, the
result of my paternal great-grandfather passing through on his way to New
Jersey. <span style="mso-spacerun: yes;"> </span>My paternal grandmother, Jemima,
was born in the US but traveled back and forth to Ireland in the 1940s, not the
best time for transatlantic boat voyages. According to family lore, she was on
the Lusitania’s penultimate voyage on one of these trips. My grandfather, Frank,
would meet my grandmother some time in their late teens as they were both
living in Cliffwood Beach, NJ. They would get married, raise three boys, and my
grandfather would work for UPS until retirement. Nominally Catholic they would
take my father’s conversion to evangelical Christianity quite hard. </p>
<p class="MsoNormal">On the other hand, my wife’s paternal grandmother, Gladys,
was raised on a farm in Alberta, Canada. She rode a horse to school, shipped
gophers on hand-made boats down the creek, and smoked a corncob pipe. One of
our favorite family photos of Gram is a black and white shot of her leaning
against a rail fence, smartly dressed, with a rifle in her right hand and the corn
cob pipe in the other. She made it through eighth grade before leaving school to
help with the family farm. Gram left Canada at 17 as the tour nanny to the
children of a country and western singer named Wilf Carter, who is best known
as the “father of Canadian country music.” It was on one of Carter’s tours of
the states that Gram met Bob, a 18 year New Jersey boy with a 10<sup>th</sup>
grade education. Bob would work for years in the telecom industry starting as a
linemen for New York Telephone, staying with the company as it was acquired by Bell
Telephone and later again by AT&T. However Grandad, in family history, was
best known for his love of farming. For many years he maintained 30 acres of
corn, regularly sowing, planting, and reaping well into his 70s. To the
distinct chagrin of my father-in-law who went gray very early on, Grandad retained
a full head of black hair for years. This caused people to ask, when they were
out together, if the two men were brothers. </p>
<p class="MsoNormal">I possess significantly more stories about my wife’s paternal
grandparents, Gladys and Bob, known as Grammie and Grandad, for several reasons.
First, they both invested time in their kids and grandkids. For many years, they
hosted birthday parties, Easter, Christmas, Thanksgiving, and Halloween. They
were generous with their time, food, attention and even money. They were both people
of deep Christian faith who passed that on to my father-in-law. I had privilege
of knowing Glady and Bob for about eighteen years and spent, frankly, more time
with them than my own grandparents because of their investment in their family.
My kids got to spend quality time with their great grandparents. We also walked
together through Grandad’s brain cancer in 2017. The week before Gram died in
2020 we spent an hour together, talking, telling stories, and telling her we
loved her. Her favorite thing was to have grandkids on her lap so of course the
last pictures of us together was with our youngest on her lap. </p>
<p class="MsoNormal">These are not historical moments. However they are deeply
impactful to the lives and practices of how we understand and practice family. The
example of my paternal grandparents in their investment into the lives of their
children, their grand kids and great-grand kids, is an important historical
touchstone to the way the family sees itself and holds itself together.</p>
<p class="MsoNormal">After Gram died in 2020, one of the deepest senses of loss
was selling their house because that was the site of family gatherings. However
my sister-in-law, Kelly, and her husband Chris, moved into a manse, close by to
my in-laws that featured a wide grassy expanse with plenty of room for everyone.
While we live in multiple states, we still regularly gather together to write
the next chapters of our family’s history. <br /></p>
<p class="MsoNormal"> </p>
<p></p>Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-91712998913592398072022-09-09T13:45:00.001-07:002022-09-09T13:45:43.961-07:00Calvin Colton<p><span style="font-family: inherit;"> America, as an experiment in democracy and religious liberty
has grappled from its inception as to the degree that liberty, religious
liberty, and slavery were connected. This discussion was particularly heightened
around the topics of slavery and abolition in the early to mid-1800s. While abolitionists
would argue that there was certainly connection between these three in favor of
abolition, a contrasting body of argument was also constructed during this
time. These were arguments against abolition, that slavery was natural, was
protected by liberty, and as such, was expected and normal in the regular
everyday state of affairs.<a href="file:///C:/Users/jmcginniss/Dropbox%20(Liberty%20University)/PC%20(2)/Documents/PhD/HIST701/Blog%20Post%20Text.docx#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 107%;">[1]</span></span></span></a>
Not a few of the arguments came from those who claimed Protestantism as their
religious practice. </span></p><p class="MsoNormal"><span style="font-family: inherit;"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">One such example can be found in the writing of Calvin
Colton. It’s very likely you have never heard of Calvin Colton whom one author
summarizes as “…an anglophobic, ex-evangelical Whig; an Episcopalian,
millenarian conservative; a gradualist utopian deeply troubled by the market
where he made his living…”<a href="file:///C:/Users/jmcginniss/Dropbox%20(Liberty%20University)/PC%20(2)/Documents/PhD/HIST701/Blog%20Post%20Text.docx#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 107%;">[2]</span></span><!--[endif]--></span></span></a>
Colton managed to live in remarkable and historical times in ways that were markedly
unremarkable. Colton came of age in a fraught period of time in American
history, graduating Yale College in 1812 and from Andover Theological Seminary
in 1814. Following his ordination in 1816, Colton would pastor for the next
decade in western New York’s Burned-Over District, a region profoundly affected
by Second Great Awakening. Following his wife’s Abbey Raymond’s unexpected death
in 1826 as well as being troubled by a persistent throat infection, Colton left
the pulpit and traveled for several years in frontier regions of the Midwest.
He would then live in England<span style="mso-spacerun: yes;"> </span>from
1831-1835 where he worked as a freelance writer and a part-time newspaper
correspondent. He would return to the US in 1836 writing and teaching until the
end of his life in 1850. Colton was also Henry Clay’s biographer and published
his papers, though Colton’s biography of Clay was panned as “uncritical and unreliable.”<a href="file:///C:/Users/jmcginniss/Dropbox%20(Liberty%20University)/PC%20(2)/Documents/PhD/HIST701/Blog%20Post%20Text.docx#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 107%;">[3]</span></span><!--[endif]--></span></span></a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">In his 1839 book, <i><a href="https://www.gutenberg.org/files/41014/41014-h/41014-h.htm" target="_blank">Abolition, a Sedition</a> </i>Colton argues
that “slavery…is a corporate part of the American political fabric, established
by Constitution law, and interwoven with the frame of the Federal Government.” <a href="file:///C:/Users/jmcginniss/Dropbox%20(Liberty%20University)/PC%20(2)/Documents/PhD/HIST701/Blog%20Post%20Text.docx#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 107%;">[4]</span></span><!--[endif]--></span></span></a>
Colton reprises the old argument that “it is better to be a slave in America
than a free man in Africa…that the best conditions of African barbarism could
never be envied by the worst of American slavery.” He further argues that
slavery offers the opportunity to “…learn, that God, in his high and
inscrutable provide, can bring good out of evil… by the lights of American civilization,
and the blessing of American Christianity….”<a href="file:///C:/Users/jmcginniss/Dropbox%20(Liberty%20University)/PC%20(2)/Documents/PhD/HIST701/Blog%20Post%20Text.docx#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 107%;">[5]</span></span><!--[endif]--></span></span></a>
These bear out two points. First that Colton is not terribly original in his thinking.
The argument for slavery as beneficial dated at least from the 1700s as did the
argument that removing slavery would disrupt society. Secondly, while Colton is
correct that God can bring good out of evil, one should not blame God for evils
perpetuated by mankind. However it is in the “lights of American civilization”
that Colton also saw God’s role in American society.<span style="mso-spacerun: yes;"> </span>In what would prove to be his last address in
1850 to Congress calling for a transcontinental railroad, Colton argues “God,
in his providence, by the operation of the stupendous machinery of man’s
collective power…has precipitated these great and startling events…”<a href="file:///C:/Users/jmcginniss/Dropbox%20(Liberty%20University)/PC%20(2)/Documents/PhD/HIST701/Blog%20Post%20Text.docx#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 107%;">[6]</span></span><!--[endif]--></span></span></a>
“These great and startling events” referring to addition of states to the Union
as well as the technological improvements that would allow for a transcontinental
railroad to be built. Colton marks an argument throughout this <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">“<span style="background: white; color: #2a2a2a;">A prolific writer, Colton was neither an
original thinker nor much of a stylist, but he was influential in his day</span>.”<a href="file:///C:/Users/jmcginniss/Dropbox%20(Liberty%20University)/PC%20(2)/Documents/PhD/HIST701/Blog%20Post%20Text.docx#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="background: white; color: #2a2a2a; font-size: 11pt; line-height: 107%;">[7]</span></span><!--[endif]--></span></span></a> Colton’s
writings stand in as prime examples of someone who embraced technological
advancement and progress as signs of God’s favor on America. At the same Colton
held, as many others did, that slavery was an essential piece of American life
and could not be removed without doing significant damage to the fabric of America.
Thus, Colton’s writings can be read as standing in for many other Americans at
this time who argued for a “American Christianity” that promised technological advancement,
commercial success and inevitable progress but was not meant to be extended to
enslaved people. <o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: inherit;"> </span></o:p></p>
<div style="mso-element: footnote-list;"><!--[if !supportFootnotes]--><span style="font-family: inherit;"><br clear="all" />
</span><hr align="left" size="1" width="33%" />
<!--[endif]-->
<div id="ftn1" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><a href="file:///C:/Users/jmcginniss/Dropbox%20(Liberty%20University)/PC%20(2)/Documents/PhD/HIST701/Blog%20Post%20Text.docx#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 107%;">[1]</span></span><!--[endif]--></span></span></a> America’s
robust religious print culture not only supported these discussions through a
wide variety of printing presses and fairly high literacy rates but also provides
a rich archive of primary source materials for historians to engage. On this see <i>Religion
and the Culture of Print in Modern America</i> edited by Charles L. Cohen and
Paul S. Boyer. <o:p></o:p></span></p>
</div>
<div id="ftn2" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><a href="file:///C:/Users/jmcginniss/Dropbox%20(Liberty%20University)/PC%20(2)/Documents/PhD/HIST701/Blog%20Post%20Text.docx#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 107%;">[2]</span></span><!--[endif]--></span></span></a> <span style="mso-spacerun: yes;"> </span><a name="_Hlk113629750">Bratt, James D. “From
Revivalism to Anti-Revivalism to Whig Politics: The Strange Career of Calvin
Colton.” <i>The Journal of Ecclesiastical History</i> 52, no. 1 (2001): 63–82</a><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></p>
</div>
<div id="ftn3" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><a href="file:///C:/Users/jmcginniss/Dropbox%20(Liberty%20University)/PC%20(2)/Documents/PhD/HIST701/Blog%20Post%20Text.docx#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 107%;">[3]</span></span><!--[endif]--></span></span></a> Cave,
Alfred A. "Colton, Calvin (1789-1857), clergyman and author." <i>American
National Biography</i>. 1 Feb. 2000<o:p></o:p></span></p>
</div>
<div id="ftn4" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><a href="file:///C:/Users/jmcginniss/Dropbox%20(Liberty%20University)/PC%20(2)/Documents/PhD/HIST701/Blog%20Post%20Text.docx#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 107%;">[4]</span></span><!--[endif]--></span></span></a> <span style="background-color: white; color: #333333; font-size: 14px; text-indent: -28px; white-space: pre-wrap;">Colton, Calvin. </span><i style="background-color: white; border: 0px; color: #333333; font-size: 14px; margin: 0px; padding: 0px; text-indent: -28px; vertical-align: baseline; white-space: pre-wrap;">Abolition a sedition</i><span style="background-color: white; color: #333333; font-size: 14px; text-indent: -28px; white-space: pre-wrap;">. G.W. Donohue, 1839. </span><i style="background-color: white; border: 0px; color: #333333; font-size: 14px; margin: 0px; padding: 0px; text-indent: -28px; vertical-align: baseline; white-space: pre-wrap;">Sabin Americana: History of the Americas, 1500-1926, </i><span style="background-color: white; border: 0px; color: #333333; font-size: 14px; margin: 0px; padding: 0px; text-indent: -28px; vertical-align: baseline; white-space: pre-wrap;">13</span><i style="background-color: white; border: 0px; color: #333333; font-size: 14px; margin: 0px; padding: 0px; text-indent: -28px; vertical-align: baseline; white-space: pre-wrap;">. </i></span></p>
</div>
<div id="ftn5" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><a href="file:///C:/Users/jmcginniss/Dropbox%20(Liberty%20University)/PC%20(2)/Documents/PhD/HIST701/Blog%20Post%20Text.docx#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 107%;">[5]</span></span><!--[endif]--></span></span></a> Colton, Calvin. <i>Abolition. </i>97<i>. </i><o:p></o:p></span></p>
</div>
<div id="ftn6" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><a href="file:///C:/Users/jmcginniss/Dropbox%20(Liberty%20University)/PC%20(2)/Documents/PhD/HIST701/Blog%20Post%20Text.docx#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 107%;">[6]</span></span><!--[endif]--></span></span></a> Colton, Calvin, United States. Congress, and Smithsonian Institution. <i>A lecture on the railroad to the Pacific : delivered August 12, 1850, at the Smithsonian Institute, Washington, at the request of numerous members of both Houses of Congress</i>. New York: A.S. Barnes & Co., 1850. <i>Sabin Americana: History of the Americas, 1500-1926, </i>5.</span></p>
</div>
<div id="ftn7" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><a href="file:///C:/Users/jmcginniss/Dropbox%20(Liberty%20University)/PC%20(2)/Documents/PhD/HIST701/Blog%20Post%20Text.docx#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 107%;">[7]</span></span><!--[endif]--></span></span></a> Cave,
Alfred A. "Colton, Calvin (1789-1857), clergyman and author." In his article, Bratt references Cave's entry on Colton as being one of the prime sources of biography on Colton. The most recent book-length treatment of Colton's life was published in 1969. </span><o:p></o:p></p>
</div>
</div>Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-4738685548914747072015-12-14T17:54:00.002-08:002015-12-14T17:54:13.005-08:00#critlib HomeworkI've been thinking about this post since Kevin Seeber posted his homework task in preparation for tomorrow's #critlib feelings chat. *Warning: there are feelings below.*<br />
<br />
<b>Why are you a critical librarian? </b><br />
For me, #critlib serves as means for ongoing exploration, discovery and curiosity. The crit(ical) of critlib while benefiting from theoretical underpinnings or input does not require those underpinnings. The critical view is looking at library services, place (physical/digital) and philosophy and asking who is excluded by these practices, what unnecessary barriers are in place and what can I, in my role, do to change that. For me the theoretical, philosophical stuff is awesome. Not that I am seeking to get lost in esoteric philosophic discussions. The investigation and interrogation of theoretical frameworks is really interesting to me and to have opportunity to discuss and share info about these ideas is awesome, particularly as I don't have the opportunity to do this in my job. <br />
<br />
<br />
<b>Why do you identify with these ideas? </b><br />
Everything connects. The library is a interdisciplinary space, a juxtaposition of opposites and #critlib is the opportunity to engage interdisciplinary thinking to juxtapose seemingly opposite ideas and see what emerges. <br /> #critlib has proven to be an incredible opportunity to connect, both physically and digitally, with librarians who are thinking about and doing library stuff in really fascinating and awesome ways. The drive in #critlib to push towards praxis based on historical, theoretical and philosophical underpinnings, is I think, essential to ground and understand the current environment in which we operate, how to potentially change that environment and resist as necessary. #critlib is an encouragement that being intellectually curious and a librarian are not separate entities but instead a challenge to how that curiosity and passion can feedback into being a more compassion, generous and caring librarian and individual. <br />
<br />
<b>Why do you participate in these chats?</b><br />
I don't always have the chance to participate in the chats but I often lurk and almost every single time there is the opportunity to at least consider a position, idea or source that I haven't previously. That is the joy and power of #critlib. Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-85276425579227052922013-02-25T10:13:00.002-08:002013-02-25T10:13:38.246-08:00Trying to be artful-some thoughts on Ali Smith's Artful<b>Ali Smith~Artful</b><br />
I've been trying to finish this post for a week or so now and much of the problem has been that problem of writing about something you like in a way that connects to other people.Especially a book and trying to avoid the rehashing of the entire plot and wanting to communicate what punches or what's worth about the book without giving the whole thing away while also trying to practice a bit of what was picked up in the reading process.<br />
<br />
Even the title of the book can be read different ways. Declarative-Artful (by) Ali Smith. Adjectivally-Artful Ali Smith like Dicken's the Artful Dodger who appears and disappears throughout the work. To explore the questions of form, time, edge, reflection Smith creates a/the main character who dialogues with the artifacts and occasional presence of the ghost of a former lover or spouse (hard to tell from the text). Not that it really matters. Artful may also refer to the wanderings that Smith's character takes through the left-behind essay sketches that have been left behind. These sketches become the meat of the explorations of time, form, edge, reflection and edge with various interjections from Smith's character. <br />
Almost exactly halfway through the book, in the "On Form" section Smith states that "Everything can be more than itself. Everything IS more than itself." This book could be read as either a series of narrative-lectures or narrative introductions to lectures or even more complicatedly as explorations of the various connections/interplays of language and text, hidden behind simplicity of text and language. In order to get to the point though of realizing that everything is more than itself requires time, the first essay. In this first essay Smith's character spends time talking about how books require more time than they are often given. And while the character doesn't rub it in, there's obviously been a huge amount of time spent with these texts as they are liberally quoted and occasionally mashed up, including salient points regarding the author's history, biography or the reasons for their (the texts) being written. <br />
Everything IS more than itself. Simplicity can be harder to suss out and perhaps more difficult to dig into because of, at first blush, the limited numbers of ways in or places to grasp hold seem extremely limited. (Think Vonnegut, Saunders, Cummings or even Eggers.)The flip-side of everything is more than itself is that everything connects but only if you know. It helps to know everything but that's usually not possible and so it takes time to grasp the form, examining the edges reflecting on what the text has to offer. Reflecting on what the text 'says' or does. Since the reader is capable of knowing a lot the reader can then recognizing the layers of meanings and interplay that exist between texts. How the ghost of a lover/spouse, leaving behind essays could, possibly, be tied back to Barthes' death of the author. Where the author, imaginary but dead, haunts the reader's character who is also, periodically, the author, flipping the text back and forth for the benefit of the reader while diving off after the plays and subtleties of the whole reason the reader is there in the first place. Time. Reflection. Offer. Form. Edge.<br />
<br />
I will say that at the very least, there is now a new e.e. cummings poems on my window, printed out on the plastic sheeting that used to be used for overhead projectors. In order to see out into the hills, and trees outside, in this particular pane, one must read the poem overlaid over the clouds or sky. So that a poem about a day and goodness of the God who created it is held up against that creation as reminder, emblem and reflection.<br />
<br />
"I thank You God for most this amazing<br />day:for the leaping greenly spirits of trees<br />and a blue true dream of a sky;and for everything<br />which is natural which is infinite which is yes<br /><br />(I who have died am alive again today,<br />and this is the sun’s birthday;this is the birth<br />day of life and of love and wings;and of the gay<br />great happening illimitably earth)<br />how should tasting touching hearing seeing<br />breathing any-lifted from the no<br />of all nothing-human merely being<br />doubt unimaginable You?<br /><br />(now the ears of my heart awake and<br />now the eyes of my eyes are opened)<br /> ~E.E. Cummings<br />
<br />
<br />
<br />Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-53314890058051438012013-02-01T05:12:00.001-08:002013-02-01T05:12:22.323-08:00Zeldin on ConversationI picked up Theodore Zeldin's book Conversation when a patron returned it to the library front desk and started reading, as one is wont to do, the last chapter. I had tried, and failed to read this petite volume several months ago and it had fallen flat. Or at least I had fallen flat. There's some really nice ideas that Zeldin lays out in this last chapter. I offer them to you without commentary for your enjoyment.<br />
Pax.<br />
<br />
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“I see thinking as bringing ideas together, as ideas flirting
with each other, learning to dance and embrace. I appreciate that as a sensuous
pleasure. Ideas are constantly swimming around in the brain, searching like
sperms for the egg they can unite with to produce a new idea….The lively brain
picks and chooses and creates works of art out of ideas. </div>
<div class="MsoNormal">
The peculiarity
of humans is that they can watch themselves as they go about their business, as
they talk and think…They can be either slaves of their thoughts and memories,
or decided which of them are useful, which cause only trouble, and which to put
away in a bottom drawer. </div>
<div class="MsoNormal">
Conversation with yourself is full of risk, because
you have to decide how much to enhance your ideas with imagination….Ideas need
not just to meet, but to embrace.” (p. 85-88 <a href="http://www.amazon.com/Conversation-How-Talk-Change-Lives/dp/1587680009/ref=sr_1_1?ie=UTF8&qid=1359582711&sr=8-1&keywords=Conversation+Zeldin">Conversation<span style="font-family: Wingdings;"> </span>Zeldin</a>)</div>
<div class="MsoNormal">
<br /></div>
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“You may wonder whether the art of conversation should be
taught, or can be taught, like dancing. The Victorians thought so. They poured
out a vast mass of books on the subject, showing that they felt a new style was
needed for their new ambitions. But the conversation they wanted to learn had
aims which would not entirely satisfy the present generation: to make time pass
more agreeably, to get the good opinion of others and to improve oneself. </div>
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The
teachers of conversation neglected the idea of personal contact, of the
intimate meeting of minds and sympathies and, above all, of the search for what
life is about, and how we should behave. They assumed everybody knew what life
was about. They regarded themselves as propagating a branch of knowledge
between music and medicine; that is, they became elocutionists, correcting
accents and presentation, instead of depending the subject matter of
conversation. For most of history, people aspiring to be conversationalists
have too often avoided subjects which went too deep or were too personal. </div>
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They
cheated: instead of saying what they thought, they repeated fashionable
formulae or found epigrammatic ways of saying things they did not believe. I
should like some of us to start conversations to dispel that darkness, using
them to create equality, to give ourselves courage, to open ourselves to
strangers, and most practically, to remark our working world, so that we are no
longer isolated by our jargon or our professional boredom. (p. 94-97
Conversation<span style="font-family: Wingdings;"> </span>Zeldin)”</div>
Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-46995787293070392962013-01-23T05:41:00.002-08:002013-01-23T05:41:41.477-08:00What does authenticity sound like? This article from the <a href="http://www.dispatch.com/content/stories/life_and_entertainment/2012/11/22/lincoln-full-of-authentic-sounds.html" target="_blank">Columbus Dispatch entitled "'Lincoln' full of authentic sounds"</a> was recently forwarded to me. In order for the rest of this post to make sense you should, dear reader, take 5-7 minutes for a read-through or two of the above link. Clicking the link should open up in a new tab so you won't have to worry about losing your spot here.<br />
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There's a couple of really interesting aspects of this article that seemed to be worth commenting on.<br />
1) The title of this article is worth noting. If the title read 'inauthentic' instead of 'authentic' what would an inauthentic sound be? Would it be if, during the movie, the watch was displayed and it didn’t tick or if the sound of the watch was from Big Ben? Or if the sounds of John Wilkes Booth's watch was played when seeing the watch? Or perhaps an inauthentic sound is one that is not historically grounded. But the term “historical sound” doesn't quite fit. I'll come back to this.<br />
2) Additionally I found this article is interesting because it seems to be dealing with a need or desire to explicitly point out the supposed authenticity of sounds in an entertaining/entertainment medium. I think this is due to dealing with an historical subject or biography, with what we refer to as 'historical fact(s)' and trying to use the sound of a legitimate historical object to lend credence to the authenticity of the storyline in a medium that is very much about intertwining truth and illusion. <br />
<br />
I would posit that the interest in 'authentic sounds' stems from the desire to make movies about historical figures or history as believable as possible. The concept of originality is rather highly prized in Western art and culture-making where the original is supposed to matter more than an unoriginal or a copy. Hence calling someone or their work/art "original" is truly a compliment while calling someone's work "derivative" indicates that the creative foundations or source(s) of an individual's art work are too easily linked to the influence of other artists and thus does not seem to arise <i>ex nihilio</i> and is therefore not original or not original enough. <br />
Truthfully I've not actually seen the movie Lincoln yet but the concept explored in this article has been bouncing around my head for the past couple of weeks. In referring back to item 1, if the article hadn't pointed out that particular sounds were from historical artifacts and places, the viewer wouldn't notice. Because the viewer doesn't know that the recorded watch sound is from a watch Lincoln owned, the sound is, of itself, without meaning or weight. Substituting a recorded sound for the watch's true, as it were, tick may actually be less authentic since it is not the seen watch which generates its own tick that is heard. The watch is, if you will, lip-syncing. And in the context of human performance lip-syncing is often seen as one of the deadly sins of live performance, fit for scandal and wild speculations. (Note the very recent brouhaha of <a href="http://www.npr.org/blogs/thetwo-way/2013/01/22/169992779/beyonces-national-anthem-was-pre-recorded-marine-band-says?ft=1&f=1039" target="_blank">Beyonce's performance at the inauguration</a>. There's whole other area to explore here of the belief in originality and live performance, but that's for another time.) <br />
Adorno suggests that "mass media are not simply the sum total of the actions they portray or
of the messages that radiate from these actions. Mass media also consist
of various layers of meanings superimposed on one another, all of which
contribute to the effect." (p. 164, The Schema of Mass Culture) The sound of the watch must be portrayed as 'authentic' in order to contribute to the overall layering-of-meaning process. The authenticity of the sound is supposed to bring authenticity to the movie, because of the factuality of the sound the rest of the movie now has greater meaning or weight. The contribution of a specific historic recorded sound to the movie watching process, which is filled w/ other, supposedly, historically accurate item, layers on the acting and visual elements to add layers of convincing meaning to the reception of the film. The viewer has no way of knowing this, until educated, but the sound of the watch is supposed to matter more than other sounds.<br />
"Everywhere the public's nose is being rubbed in the alluring aroma of authenticity so that everyone can experience the intoxication of watching as it happens and Being There...In cinemas every second set of opening or closing credits announces that the film is based on real events." (p. 45 <a href="http://fivedials.com/files/fivedials_no26.pdf" target="_blank">Five Dials No. 26</a>) In the end it doesn't really matter what sound gets used for the watch. The source of the sound is supposed to give its authenticity to the moment of observing Lincoln's watch. The ticking indicates that what you are seeing is real even though the watcher does not hear the ticking of the watch that they are seeing. They are hearing a second watch, layered onto the visual of the first watch to make the first watch, and the movie by extension, an authentic experience. I would suggest that by engaging in this layering process the notions of original or authentic are actually undermined. To describe this sound as authentic is to engage in what Adorno refers to as the 'jargon of authenticity'. Those art/entertainment-works practicing or using this jargon are ultimately more concerned with the appearance and reception as authentic (realer than real) than actually being so.Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com1tag:blogger.com,1999:blog-6878432702084458234.post-8697158261665181022012-11-26T19:00:00.001-08:002012-11-26T19:00:46.845-08:00Disaster Tourism-Sea Bright, NJ<div class="separator" style="clear: both; text-align: center;">
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I grew up 20-30 minutes, depending on the traffic, from Sandy Hook, NJ. Traveling down Rt. 36 to its end forces you to either go left to Sandy Hook and the beach or right onto the barrier island of Sea Bright. If you travel far enough Sea Bright turns into Long Branch and eventually, I believe, LBI. The houses in Sea Bright largely face the ocean with the river at their backs so that even in relatively mild hurricanes or nor'easters there is flooding. My father would often take us down to the beach after a hurricane to see what had changed on the beach or how Sea Bright had fared.<br /> It is deeply sobering to see people's appliances, housing materials, clothes and other more personal materials piled in front of their houses waiting for trash pickup. It was late afternoon as we were driving around so the sun was starting to display the colors of sunset and the wind was chasing the clouds around the sky. There was a strange juxtaposition in the natural beauty of the day and the chaos of carefully purchased household items heaped in front yards and sidewalks. There is an odd aesthetic or architectural sense of awe in looking at how the storm punched out walls or moved houses off their foundation. Some of the houses missing their back or side walls seemed to have been designed that way. They are almost picturesque, framing the now-peaceful river moving in the background. This is not an attempt to diminish the loss or destruction caused by Sandy; rather, impressions received as we drove through and marveled and sorrowed.<br />
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<br />Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-25317953990190802292012-11-01T09:48:00.001-07:002012-11-01T09:49:58.651-07:00Less Definition-More Action: Doing Information Literacy Better<br />
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This post is the result of a failure to read all the details in a particular request for submissions. I failed to grasp the audience was not librarians but that was after I had finished what follows. So rather than consign it to the ether, I share it here. Please comment as able and willing.<br />
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<div class="MsoNormal" style="text-indent: .5in;">
The call of a particular publishing organ
for an essay defining information literacy prompted the following thought: We
don’t need any more essays/articles offering another definition of information
literacy. While it is tempting to spend some time crafting a more marketable or
catchier t-shirt wearable slogan, another essay that attempts to provide that
kind of definition is exactly what is not needed. Instead of quibbling over
verbiage in yet another IL definition, what is needed instead is <a href="http://www.inthelibrarywiththeleadpipe.org/tag/information-literacy/">discussions
of doing</a>. To that end, this essay will look at two issues that need to be
dealt with in any institution, regardless of size. Secondly it will recommend
three areas that we need to be better in order to take full advantage of
information literacy opportunities. <br />
<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>Information
literacy is not an end to itself. It is deeply intertwined with and rooted in
the processes of life-long learning and <a href="http://stager.tv/blog/?p=753">critical
thinking</a>. Successfully realizing an information literacy approach is found
when students consistently ask three evaluative questions throughout their
research process:<br />
<br />
1) “Where do I look to find the information I need?” <br />
2) “How do I <a href="http://loex2008collaborate.pbworks.com/w/page/18686701/The%20CRAP%20Test">evaluate</a>
the information that I’ve found?” <br />
3) “How do I correctly use/cite the information that I’ve incorporated into my
paper?”</div>
<div class="MsoNormal">
<br />
<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>Many
approaches to information literacy are often tied to the particular library
rather than being tied to the process of life-long learning for two particular
reasons:<br />
<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 11;"> </span><span style="mso-spacerun: yes;">
</span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>1) Time
<br />
<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 11;"> </span><span style="mso-spacerun: yes;"> </span>2) Money<br />
<br />
<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Often, librarians do not have enough time to
spend in the classroom because of the amount of material the class needs to
cover. <span style="mso-spacerun: yes;"> </span>Attempts have been made to
address this with first year programs and various seminars but these are far
from being ubiquitously adopted. Technological responses have also been sought
where some really nice <a href="http://www.webs.uidaho.edu/info_literacy/">tutorials</a>/<a href="https://vimeo.com/user4133833/videos">videos</a>/games have been built to
help students engage with tools and processes that will assist them. These
tools take time to learn and as libraries combat for attention and use for
engaging in the research process rather than simply shopping for information.<br />
<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Money is the unavoidable second issue as the
libraries are paying many hundreds of thousands of dollars for research database
access. Often, these are only available for students as long as they are enrolled
at the institution. Once the students graduate and are no longer counted in the
full time enrollment, the access to the tools that they’ve been using, and
trained to use, for the past 4-6 years are then removed from their reach. Information
literacy practices should then focus not just on the habits and use of database
searching but at the searching across all kinds of information sources (where
do I look?). Because libraries are spending very much money on these resources,
some return on that investment would be nice and time is limited so rather than
actually teach a fully comprehensive information literacy curriculum, we end up
teaching an information literacy that is platform dependent on a particular
library and ends up lacking in relevance once the student leaves the
institution. <br />
<br />
<b style="mso-bidi-font-weight: normal;">Information literacy is not <a href="http://www.ala.org/lirt/front">library instruction</a></b>. Library
instruction is often helpful, if not also deeply necessary, and is a definitive
component of information literacy but a library instruction session does not an
information literacy approach make. There is the hope that the other classes
and training the student has received has equipped them with critical thinking
skills so that they are able to track down needed information through other
means upon graduation. Library instruction is not, by definition, interested in
the students after they graduate. In contrast, information literacy needs to
care about the student as a whole person in their educational process through
college and continuing on through the rest of their life. Academic libraries do
not do a typically good job of passing college graduates onto the public
libraries. If information literacy programs are succeeding, public libraries should
be receiving college graduates as new patrons. This does happen but not nearly
enough as it ought too because more often than not, due to time and money, we
settle for library instruction over teaching information literacy.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Librarians need to be
better teachers</b>. We need to read more books like <i style="mso-bidi-font-style: normal;"><a href="http://www.amazon.com/Teaching-Subversive-Activity-Neil-Postman/dp/0385290098/ref=sr_1_1?s=books&ie=UTF8&qid=1351261091&sr=1-1&keywords=Teaching+as+a+Subversive+Activity">Teaching
as a Subversive Activity</a> </i>by Neil Postman and Charles Weingartner, <i style="mso-bidi-font-style: normal;"><a href="http://www.amazon.com/The-End-Education-Redefining-School/dp/0679750312/ref=sr_1_1?ie=UTF8&qid=1351261072&sr=8-1&keywords=The+End+of+Education">The
End of Education</a></i> by Neil Postman, <i style="mso-bidi-font-style: normal;"><a href="http://www.amazon.com/Socrates-Cafe-Fresh-Taste-Philosophy/dp/039332298X/ref=sr_1_1?s=books&ie=UTF8&qid=1351261105&sr=1-1&keywords=Socrates+Caf%C3%A9">Socrates
Café</a></i> by Christopher Phillips, <i style="mso-bidi-font-style: normal;"><a href="http://www.amazon.com/Walking-Water-Reading-Writing-Revolution/dp/1931498784/ref=sr_1_2?s=books&ie=UTF8&qid=1351261118&sr=1-2&keywords=Walking+on+Water">Walking
on Water</a></i> by Derrick Jensen, <a href="http://www.amazon.com/What-Best-College-Teachers-Do/dp/0674013255/ref=sr_1_1?ie=UTF8&qid=1351261251&sr=8-1&keywords=What+the+Best+College+Teachers+Do">What
the Best College Teachers Do</a> by Ken Bain or <i style="mso-bidi-font-style: normal;"><a href="http://www.amazon.com/Teaching-Learning-Studies-Education-Spirituality/dp/0820457531/ref=sr_1_1?s=books&ie=UTF8&qid=1351261139&sr=1-1&keywords=Teaching+to+Learn%2FLearning+to+Teach+Dalke">Teaching
to Learn/Learning to Teach</a></i> by Anne French Dalke. <span style="mso-spacerun: yes;"> </span>There’s a bunch of really great examples out
there of librarians working to be better teachers. (<a href="http://www.inthelibrarywiththeleadpipe.org/2009/sense-of-self-embracing-your-teacher-identity/">Example
1</a>, Blog 2, Blog 3, Blog4?)<span style="mso-spacerun: yes;"> </span>Good
teachers engage their students and try to understand what their different
audiences need. In order to do an exemplary job of presenting information
literacy practices and not squander the precious opportunities that are available,
librarians need to be good at communicating our own passion and joy about using
good resources. In short, information literacy cannot be boring, lame or dumb. How
can <a href="http://docs.rwu.edu/cgi/viewcontent.cgi?article=1012&context=librarypub">problem-based
learning initiatives</a> be incorporated into a class session? How can the
Socratic method aid in helping establish a rapport with a class so that they
begin to engage with the material? How hands-on can you get? What’s the
takeaway or perhaps more importantly, what’s the hook? Why should students even
start listening to you in the first place?<a href="http://www.blogger.com/blogger.g?blogID=6878432702084458234#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Doing information
literacy well requires a culture/process of assessment.<br />
</b>How do you know when the session went well or that students got it? As a
profession, we’ve definitely gotten better at this, thanks in no small part to the
diligent efforts of professionals like <a href="http://meganoakleaf.info/publications.html">Megan Oakleaf</a>, and
projects like <a href="http://www.trails-9.org/">TRAILS</a>, and <a href="http://railsontrack.info/">RAILS</a>. Most of us don’t have the time,
energy or _______, to do a Journal of Academic Librarianship level of
assessment on our information literacy sessions. We also don’t need to. Look at
what other libraries are already doing and adapt an assessment plan to meet your
needs. (<a href="https://www1.columbia.edu/sec/cu/libraries/bts/img/assets/9795/CUL_Assessment_Plan.pdf">Columbia</a>,
<a href="http://research.library.cornell.edu/sites/default/files/RAU_plan_2009_and_2010_final%5B1%5D.pdf">Cornell</a>,
<a href="http://library.indstate.edu/about/docs/LibraryAssessment.pdf">Indiana
State</a>, etc.)<a href="http://www.blogger.com/blogger.g?blogID=6878432702084458234#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a> Subscribe
on <a href="http://lists.ala.org/wws/info/ili-l">ACRL’s Information Literacy
listserv</a>. These people know what they are talking about and they are way
friendly also. You don’t have to create stuff from scratch. Share some of your
knowledge occasionally, glean from the threads and a lot of the stress from
assessment will melt away.<br />
<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>Ideally,
librarians would work hand-in-hand with each academic department, serving as
references for new class design, helping to design assignments, have ample time
to spend in group and individual interactions with students, gain the respect
of faculty and administration and <a href="http://www.wweek.com/portland/imgs/media.images/9634/streetcar%20unicorn.nar.jpg">commute
via unicorn</a>. But this is not typical library reality and the long hard
process of fighting for information literacy inclusion into/across curriculum
is not going to be accomplished with more discussion about definitions. Rather
understanding what information literacy is supposed to do, practicing and
working to be better communicators and teachers while measuring how we are
doing will be instrumental in establishing information literacy as an essential
part of the educational process.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=6878432702084458234#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a> A
couple of years ago a student named Chris very candidly remarked to me that
“…at the very moment the professor mentions that the librarian is going to be
coming to class, at that instant, I already beginning to be bored.” It’s
difficult to say how much mileage I’ve gotten out of that quote because that’s
what many students are thinking and well, it helps to let them know, that you
know, how they might be thinking and also gives a launch point from which to
say fair enough-I get it and then change the viewpoint.</div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=6878432702084458234#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>
Indebted to the ACLR ill-l list-serv for furnishing this list. <br />
Email from Megan Oakleaf on April 25, 2012 “Re:program assessment plans”</div>
</div>
</div>
Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-88389511795294018152012-09-24T20:53:00.000-07:002012-09-24T20:53:36.185-07:00Seeing and hearing: Radio and TV in modern culture via Frightened Rabbit's Old, Old FashionedFinished reading Jonathan Sterne's excellent book <i>The Audible Past </i>yesterday. Sometimes, in particular works, there are chapters or sections that are well worth the time to be read again and again. The conclusion to <i>Audible Past</i> lands squarely in this category. While effectively wrapping up the entire work, the conclusion also raises additional questions and areas for additional study. One of the more memorable bits in this conclusion is Sterne's examination of the relationship of the metaphors of sight and hearing, especially in Western language and thought. After finishing up this book where the relationship of sound and vision were very much on my mind, my daughter and I were hanging out listening to <a href="http://frightenedrabbit.com/" target="_blank">Frightened Rabbit's </a>The Midnight Organ Fight. The fifth song on this album is Old, Old Fashioned and the lyrics fit particularly well into the thinking about the relationship between sound, , sound reproduction, bodies and media that Sterne has explored throughout the book. So, largely for fun, here's an exegesis of FR's Old, Old Fashioned's lyrics and its connection to listening, sound reproduction and culture. <br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/fSRlzIgOSRw?feature=player_embedded' frameborder='0'></iframe></div>
The first four verses w/ chorus are below with all lyrics available <a href="http://www.azlyrics.com/lyrics/frightenedrabbit/oldoldfashioned.html" target="_blank">here</a>:<br />
<br />
I'll turn off the TV<br />
It's killing us we never speak<br />
There's a radio in the corner<br />
It's dying to make us see<br />
<br />
So give me soft, soft static<br />
With a human voice underneath<br />
And we can both get old fashioned<br />
Put the brakes on these fast, fast wheels<br />
<br />
Chorus:<br />
Oh let's get old fashioned<br />
Back to how things used to be<br />
If I get old, old fashioned<br />
Would you get old, old fashioned with me?<br />
<br />
Put the wall clock in the top drawer<br />
Turn off the lights so we can see<br />
We will waltz across the carpet<br />
1-2-3-2-2-3<br /><br />
So give me the soft, soft static<br />
Of the open fire and the shuffle of our feet<br />
We can both get old fashioned<br />
Do it like they did in '43<br />
<br />
<br />
In the first verse, the act of turning off the TV is turning off a host of other voices and images that interfere with the song's protagonists' own conversation(s). The speaking of the TV versus the act of having a conversation with the ensuing or desired destruction or silencing of the TV is a popular trope within Western culture. This trope holds that destroying your TV is in the best interests of the individual and his/her relationships. (Good examples can be found by googling <a href="https://www.google.com/search?q=destroy+your+tv&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a#hl=en&sugexp=les%3B&gs_nf=1&tok=JHIvdRIMZXxM0ykzcsnLiQ&pq=destroy%20your%20tv&cp=1&gs_id=10x&xhr=t&q=kill+your+tv&pf=p&client=firefox-a&hs=mtC&rls=org.mozilla:en-US%3Aofficial&sclient=psy-ab&oq=kyour+tv&gs_l=&pbx=1&bav=on.2,or.r_gc.r_pw.r_cp.r_qf.&fp=6fb018d91e3bfbc6&biw=1366&bih=629" target="_blank">kill your tv.)</a> Because we are so easily distracted by the combination of moving images and audio, our conversation cannot transcend or push back that of the TV unless it is turned off. <br />
However something needs to replace the TV as a medium to draw people together. Thus the radio, drawing deeply on the nostalgia of the radio as a centralizing, community-building entity is called upon; see Norman Rockwell illustrations of <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6yhBCltyw9pzWiEGamDdJckzPJz7GHA4dkiF0alWxr1yAw_87XJoUgSyrof2oCbqzHYRaRWRdJguqSH-2E6XCtS78fJisG7MfUpIv0qGOHmqFcES-CCdL_d-33rVWn-zpBi0toMFW1i0/s320/broderbund_old_time_people_around_radio1234.jpg" target="_blank">listeners gathered around the radio</a>. Additionally, turning off moving images forces the erstwhile viewers to look at each other, hence the radio "...is dying to make us see". Note that the radio which projects no images but only sound is a better conduit of sight because it connect the listeners with, presumably, a better understanding of the real world through personal conversation and interaction. There is the subtext that sound/image are difficult, if not impossible to traverse in conversation but sound only can be pushed into the background so that conversation can be foreground. Additionally, the radio's "soft, soft static" pushes back against the hyper-edited, HD-obssessed TV viewing. The radio as a media object that receives and interprets particular waves, in fact would be useless without those waves, also, in this context, functions as a communicative medium that reconnects two individuals. The chorus's desire to get "old fashioned" and "back to how things used to be" refers not only to the removal of interfering media (TV) but also the restoration of the relationships between the protagonist and his audience. Nostalgia is drawn on heavily here, while nostalgia is often for a falsely remembered golden age, in the case of this relationship the couple is well able to relive their previous relationship by reducing the relationship back to what mattered, time together. <br />
Both verse one and verse three make entreaties to re-enabling the ability to see by the means of listening. The radio in verse one is "...dying to make us see" while verse three asks to "Turn off the lights so we can see". The joint juxtaposition of opposites is mirrored in both verses. Where verse one calls for sound to cause the listeners to see, verse three sees turning off the lights, which mirrors turning off the TV-also light-emitting,calls for the absence of light to cause the individuals see each other. While normally we seek to "shed light on a matter" in this case the reduction of light allows or helps to foster reconnection. Presumably the parallelism between the TV's light and the room's light are both or have been distracting enough to warrant their dimming.<br />
It's particularly interesting in the third verse that time is stuffed into a drawer. Where watching TV kills time or is accused of doing so, here time is deliberately taken in hand to be disregarded until further notice. Rather than wasting time, time is gathered up and subjected to the listener's control in defiance of its passing. Sterne suggests that "In bourgeious modernity sound recording becomes a way to deal with time....moderntiy being assumed to assure the perpetiuty of cages, the constanty of upheaval and transformation. But the sound recording itself also embodies fragmented time. It offers a little piece of repeatable time within a carefully bounded frame." (p. 310) Time now only exists for the listener based on the length of the song. Also, the repeatable time is not only the possibility of replaying a particular favorite song but also attempting to recreate "how things used to be". <br />
The fourth verse re-emphasizes the importance of made sound rather than relying on outside, edited or delivered sound. The singer asks "give me the soft, soft static/ Of the open fire and the shuffle of our feet" The human or organic aspects of the radio static is mirrored in the static created by the interactions of the listeners in and with their environment. The fire is a real fire, not a fake one on TV. Not only is the static generated by dancing feet, but also the static is generated by bodies moving together and over physical surfaces. Since the TV is off there is not danger of vicariously living through the dancing of others. The dance is itself the old-fashioned waltz which is both a way of marking the time signature of a piece (waltz time-3/4-tying back to repeatable and controllable time) and performing an fairly dated dance style. <br />Sterne, in his conclusion emphasizes the importance of sound culture to our modern way of living. "...we must first recognize that there <i>is </i>a domain of significant and connected questions surrounding the social life of sound in all its manifestations." (p. 348) The enjoyment of sound, via the radio, between two people is deliberately contrasted between the isolation of TV (image/sound) even while being watched by two people. What struck me in playing around this idea and listening is that this song, Old, Old Fashioned, becomes <b>the</b> song playing on the radio. Old, Old Fashioned is itself a waltz and while the lyrics presume a slightly pleading one-sided conversation, the song as a whole calls out on a larger scale to any one listening to join in and dance, turning off the TV to embrace literally the physicality and immediacy of the available present relationships. Passively listening is not enough. Passivity is for the TV watchers. Dancing or movement is for the radio listeners.<br />
Throughout this song while vision, 'the gaze' is privileged as two individual relearn to look at one another, listening is incredibly important. The dancers must here the music in order to dance to it. Seeing each other is not enough, the dancers must also speak to one another to "remember how things used to be" and stop death. In this song, listening halts the progress of the death of a relationship. <br />Additionally, to grasp the full impact of the lyrics of the FR song in the first place, one must be able to listen to or hear the song. <br />
It's interesting that, in this case, I was listening to this song as a MP3 which is the least physical or the least old-fashioned of any of the currently available musical formats. I also, unfortunately, have never heard this song on the radio. Fully embracing the song's calling for an return to old fashioned ways would, in my case, nullify my ability to listen to it because of the changes to how music is consumed. Except, I think this is missing the point slightly. The medium of the music matters less than the act of listening to it and to the conversation we generate "like soft, soft static" between one another. And not simply passively listening but dancing "like they did in '43". <br />
<br />
<br />
<br />
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<br />Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-32181241760188276342012-09-13T15:33:00.000-07:002012-09-13T15:33:49.120-07:00GoogleGlasses and the Telephone: Getting technologies off the groundCame across <a href="http://www.realityaugmentedblog.com/2012/09/diane-von-furstenbergs-pov-first-google-glass-short-film/" target="_blank">this video demoing GoogleGlasses today</a>. I would like to submit that GoogleGlasses looks good because of its editing. The fact it's promoted as a short film is mildly silly as no one, yet, really wants to watch hours of straight pov footage.Google in this particular clip is not showing off the glasses as much as highlights. Unfortunately, as far as I know, when you get the glasses, you're not getting the editor as well, unless you can afford one or take the time to do it yourself. <br />
In his book The Audible Past Jonathan Sterne documents how Bell and Watson traveled around the country to promote the use of the telephone, demonstrating it in various cities. Since being able to comprehend, let alone hear all the words being spoken by the other person on the opposite end was pretty, at best, terrible, common words, phrases and songs were used to help encourage legibility. ""...experimentation with sound reproduction largely had the machines reproducing easily remembered and imitated language." (p. 254) Sterne argues that these particular common words/phrases, etc. were used in order to help the technology; "...the desire for the machine to work" (p. 251). That is, if the message was completely unintelligible who would be interested? Bell and Watson had to prove that the telephone could indeed "speak". If people got even parts of the message that at least proved the possibility of communication in some capacity with hope for the future. <br />
Thus, the telephone in its early, development stages, received assistance from its developers in order to generate enough interest in it so that "...the machine and the process [were] as desirable to audiences as possible." (p. 251)<br />
I think there's a parallel here with GoogleGlasses. The vast majority of viewers are not yet at the place where there is desire to watch someone else watching the view in an unedited fashion. Getting stuck in traffic, using the bathroom falling asleep at your desk, eating a meal-there are things that are not important enough (right term?) to be viewed.<br />
If you read the blurb about the video on its page as well as observing the editing style (sped up sequences, jumps in time, etc.) which really closely mirrors that of reality tv (think TLC-type shows). The language in the blurb "never before seen footage", "capture", "fit seamlessly" etc. These phrases pull from common language of the extra footage of DVDs, behind the scenes desires and one of the biggest consumerist desires-no hassle. The blurb, at least, speaks our language. The editing of the event takes it one step further using editing styles and practices that remind one of another type of show but as we are reminded by the lipstick on the glass, this is a special camera.<br />
What's edited also communicates glamour, success, smiling faces and, if permissible, happiness. Nothing breaks, nothing is hurt, nothing is wrong in this particular film. As interesting and potentially important as the ability to shoot video is, editing how or what is seen, is just as important. The choice of language for the messages conveyed through early telephone demonstrations could have greatly decreased the effectiveness of the telephone if no one could understand what was being said. Similarly if the recording from the glasses went on for a Warholian 15 hours no one would watch because that footage would be truly incomprehensible; any message would be lost. <br />
The editing in this piece seeks to help the use of GoogleGlasses make sense by condensing what was probably hours of footage into a nice couple minute long exciting package. Lacking the hours of footage would diminish the amount of highlights to be drawn from them but including everything swamps the message.<br />
Since video can not be self-edited, as speech can, the editing process assists, or attempts to assist our embrace of GoogleGlasses as a viable technology. This bit of filming is designed to make us want the Glasses to "work", succeed and become part of our daily life. Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-72017562560714435922012-09-12T10:18:00.001-07:002012-09-12T10:18:29.988-07:00Hammering on the egoDavid Sizemore, a rather talented graphic designer whom I'm really pleased to consider a friend, has a really <a href="http://davidsizemoredesign.com/blog/31128924910" target="_blank">excellent recent blog post</a>. This post originates out of Dave's recently attending a design conference and wrestling with the conundrum or philosophical state of choosing between fulfilling work versus paying work. The last paragraph and the next to last sentence in that paragraph is where the meat of David's thoughts lay. He states "...I’m trying to figure out if my ego can take hammering out a solid living for myself and my family doing good, smaller work." <br />
Doing work that may be loved takes a certain toll or has particular consequences. It's really romantic to state "do what you love" but it's something else entirely to actually do that type of work because our egos, shaped and called upon and worked at by the advertising, writing and people around us, don't, usually, want to be hammered on. They want to be massaged and stroked, frankly. Understanding up front what type of hammering might occur and that hammering is inevitable is going to give a better understanding of the worth of attempting to do what one loves for a living. Beyond the personal ego trip there's the economic implications of what stuff one can buy or the ways one's family gets supported in attempting to do good, fulfilling work. <br />
<br />
If you go to <a href="http://www.ligamasiva.com/" target="_blank">Liga Masiva</a> you will find that after 3 years in business this really awesome coffee company is closing their doors. In the section of the page on "What Didn't Work" they write "...we failed to build a strong enough consumer community around this
mission and failed to create a product that was so remarkable that it
would spread ... at a scale necessary to support such an ambitious
project." <br />
<br />
If you go to <a href="http://davidsizemoredesign.com/blog" target="_blank">David's blog</a> and go down to his second post, you will see an animated FAILURE looping in an infinite circle. Beneath that image is a post where David describes his inability to start a t-shirt company. Toward the end of that post he states "But I did enjoy this process, even though it was a failure. I learned to
embrace a teeny-tiny failure, and I think it’s given me the willingness
to fail at bigger things. "<br />
<br />
How failure gets processed demonstrates how well prepared the ego is for the hammering process. And not just giving lip service to learning from failure but good engagement and interaction with the implications and necessary steps to pick up what is left and try again.<br />
<br />
To quote a poet "everyone makes mistakes /like it’s the only way we learn." ~David Bazan "'<a href="http://www.davidbazan.com/discography/strange-negotiations/" target="_blank">Messes</a>"<br />
Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-64532125698491950772012-09-05T09:29:00.002-07:002012-09-05T11:11:37.633-07:00Worship, Technology, and the Church: A Failure of LanguageThe reason for this post is that I'm concerned with, to borrow Lanier's term, trying to make humans into gadgets, especially in language. The official term for this being technological determinism. Technological determinism is dangerous wherever it shows up but when its adherents pop up in evangelical journals in the discussion of worship, church and technology, I get especially nervous.<br />
Multnomah Seminary publishes a journal called <a href="http://new-wineskins.org/journal/" target="_blank">Cultural Encounters</a>. The <a href="http://new-wineskins.org/journal/volumes/" target="_blank">current issue</a> deals in part with questions of the impact of interactions with technology. To that end this issue features an interview with the editor of the journal, Robb Redman, Quentin Schultze, professor of Communications/Arts at Calvin College and DJ Chuang who works for Worship Leader magazine entitled Worship, Technology, and the Church. The discussion/roundtable interview revolves around the use of technology in worship and the possible uses and implications for worship practices and church communication. There are some interesting points raised in the discussion as the three discuss philosophical shifts, changes and implications in worship and congregational interaction as churches try out various technologies. What caught my eye are several dicey statement which bear some closer examination.<br />
On page 97, in discussing the impact of streaming a worship service, Quentin Schultze states that "We're technological beings, and even the use of the voice and ears constitute forms of technology." There's a couple of problems with this statement. First, this statement is a type of technological determinism manifesting itself in Schultze's reading of technology back onto the human body. To say everything about the human body is technological reduces, I think, our status as created beings and thus our humanity. If we are technological beings then we as humans are easily replaceable, able to be swapped out like a hard drive or power supply. Additionally if everything is technology why make the differentiation at all? What good is the term if it can be applied to anything. <br />
Later on in the article, DJ Chuang claims that "...technology is awakening another aspect of our humantiy and desire to connect, both virtually and in person and...coffee shops or "third places" are a place to do othat..." (p. 102) But he does not go on to say what this aspect is. I would guess that this other aspect is in some ways related to the cultural shift towards postmodernism, which is the subject for another post. What's implicit about Chuang's statement here is that technology can awaken which implies that technology has certain powers and/or that those technological powers effect or cause cultural change. Johnathan Sterne in his book The Audible Past suggests that "Technological change follows cultural change". To state or imply the reverse, as Chuang does, implies that technology drives culture giving the arena of technology a much greater amount of control then it really has. Finding the line between whether culture or technology can be rather difficult. In reflecting on Sterne's statement the emphasis is not as much on causation as the overall philosophical approach. To say we are technological or that technology is awakening us states that we are now in service to or subjected to technology. Rather I would suggest that technological development is driven, for better or worse, by our cultural decisions, supposed needs and consumerist desires.<br />
Shortly after Chuang's quote above Schultze states "Technology involves human action-it's always a thing embedded in action-and we can't completely separate the thing from our action...all that we do as human beings is like technology. The most central technology to the human begin coming from the body is actually speech. <i>Techne</i>, the origin for the word <i>technology</i>, actually comes from "speech," and in the Hebrew and Christian tradition, we say God spoke the world into existence, and tthen of course from the Gosple of John, "In the beginning was the Word." So you get this idea that the primary technology is word, and word shapes culture and ways of life and it never does so neutrally." (p. 103)<br />
First, Schultze dramatically misuses language here. while techne may come from speech it does not serve as the root for technology-please see the OED listing. This is an unwarranted linguistic leap. Secondly, I believe that Schultze digs himself a bit of a hole with this statement. If speech is technology and God spoke the world into existence, is God then a technology or composed of (a) technology? Should John 1 read "In the beginning was technology?" This seems absurd and I doubt this was the point Schultze was trying to make but that seems to be a logical implication of Schultze's thinking in this interview. Lastly, if speech was a technology then it should have been able to be easily reproduced, which is not the case historically. (See Sterne's <a href="http://www.amazon.com/The-Audible-Past-Cultural-Reproduction/dp/082233013X/ref=sr_1_fkmr0_1?ie=UTF8&qid=1346862160&sr=8-1-fkmr0&keywords=Jonathan+Sterne+The+Audible+PAste" target="_blank">The Audible Past</a>)<br />
Technology is most certainly a tool and instead of having moral value, as a tool, it possesses both good and evil qualities in that it is up to the user how the tool is used.To suggest that realm of technology can be good or evil misses the point of its existence as a medium through which good or evil can be accomplished. <br />
In closing, my point is not that these are bad people or that is a bad interview. Rather my concern is that this type of thinking creeps in around and through legitmate and truthful conversation. Humans are not gadgets and we cannot succumb to language that attempts to elevate technological processes to human levels especially in the context of discussions of worship and church. We need to be able to recognize the errors and failures in this thinking and call it out when necessary so that we can adjust our thinking, our speech/language and our practices accordingly.Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-34917205708990054882012-09-05T09:02:00.000-07:002012-09-05T10:48:20.560-07:00Happy 100th Birthday John CageToday is John Cage's 100th Birthday. I was looking for his home page to post on the library Facebook page and found it.<br />
<a href="http://johncage.org/">johncage.org</a><br />
In clicking around and through the site, I selected Indeterminacy and this was what was displayed:<br />
<br />
"I went to hear Krishnamurti speak.<br />
He was<br />
lecturing on how to hear<br />
a lecture.<br />
He said,<br />
“You must pay<br />
full attention to what is being<br />
said and you can’t do<br />
that if you take notes.”<br />
The <br />
lady on my right was taking <br />
notes.<br />
The man on<br />
her right nudged her and <br />
said, “Don’t you<br />
hear what he’s saying?<br />
You’re not<br />
supposed to take notes.”<br />
She then<br />
read what she had written<br />
and said, <br />
“That’s right.<br />
I have it written down<br />
right here in my notes.”"<br />
<br />
When the process of note-taking distracts us from the process of listening. When the process of doing distracts us from listening. I don't agree with all of Cage's philosophy of approaching music and composition. But he worked and hung out with a lot of the same people that Stefan Wolpe did and like Wolpe has much to say on the relationship of opposites, sound and silence, movement and stillness. Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com1tag:blogger.com,1999:blog-6878432702084458234.post-8326851176638153622012-07-16T17:22:00.000-07:002012-07-16T17:22:03.353-07:00Unforgettable: Maria Bustillos' article Not Fade Away<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1;">
Thanks to the fantastic walllace-l listserv I was recently made aware of Maria Bustillos' excellent article <a href="http://www.theverge.com/2012/7/11/3116317/digital-afterlife-not-fade-away-living-dying" target="_blank"><b><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Not fade away: on living, dying, and the digital afterlife.</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> </span></a></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">There's a bunch of good stuff in this article but the aspect of memory and online activity is really interesting to me. "</span>When someone dies nowadays, we are liable to return to find that
person's digital self — his blog, say, or his Flickr, tumblr or
Facebook‐entirely unchanged. I knew a young man who passed away suddenly last October. His Facebook page/wall became a digital memorial and people have continued to post photos and remembrances to it as recently as today. Until Facebook takes it down or it is removed for other reasons, it is likely to stay available, almost infinitely. The same technology that can get people fired for posting "inappropriate", however defined, images/video/text, in its unforgetting also, as Bustillos points out, does not forget the dead. There is no relief to be found in the forgetfulness of human memory in regards to a individual's online presences unless steps are deliberately taken to remove that presence. (Even the way we talk about being online, as being a "presence", suggests a false physicality or even a projection of "a second self". See Sherry Turkle.) <a href="http://www.guardian.co.uk/technology/2009/jun/30/data-protection-internet" target="_blank">Corey Doctorow has made the poin</a>t of creating a means of access for all of his online accounts as part of his will so that his data and his body will be accessible by his loved ones upon death. Online content is a loop that is started the first time one logs in and posts something, anything. That rendering of code as text, video,blog post will then remain for as long as the server/ISP/browser/Wayback Machine recognizes it. The loop continues on. If you'd like to add to it, great, but the original content doesn't get tarnished in the sunlight or faded with age. "Entropy is our enemy, but also our friend; it defines that part of us
that is changing, coming into bloom and then, because we are mortal,
fading." Entropy can not be seen in its inevitable progress online. There is no sense of time in the digital world. Once recorded, once captured we continue on. This is dangerous because it seems that we have no need for memory or that all memories can be committed to this much greater brain which does not suffer from Alzheimer's. Not to say that there are not advantages to this but the ability to forget and remember is a significant part of our humanity. It must not be forgotten however that to remember should be a conscious act, not merely a keyword search.</div>Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com1tag:blogger.com,1999:blog-6878432702084458234.post-90728299136805922462012-07-14T19:57:00.000-07:002012-07-14T19:57:09.781-07:00The Internet made me write thisThe latest issue of Newsweek features an article entitled <a href="http://www.thedailybeast.com/newsweek/2012/07/08/is-the-internet-making-us-crazy-what-the-new-research-says.html" target="_blank">iCrazy: Panic. Depression. Psychosis. How Connection Addiction is rewiring our brains</a> by Tony Dokoupil. Currently the whole article is available to read on the site. <br />
My own reaction to this sort of thinking is mixed. On one hand it seems to fall into the general this-really-big-thing-is-really-bad-for-you while on the other, there may be some points to consider. There's probably a good chunk of truth to the fact that the way we think about life has been radically altered by the use of the Internet. Being "always on", to borrow the title of a 2008 book by Naomi Baron, surely has consequences. However, I hesitate, because correlation is not causation. Or to quote Baron "...as David Hume taught us long ago, constant conjunction has no necessary relationship to causation." (p. 227)<br />
Additionally, discussion(s) of the Internet as a very large, disembodied entity that makes conscious decisions on its own, demonstrate a fundamental misunderstanding of what technology's role is. For an example from the Newsweek article: "But the research is now making it clear that the Internet is not “just”
another delivery system. It is creating a whole new mental environment, a
digital state of nature where the human mind becomes a spinning
instrument panel, and few people will survive unscathed." <br />Please note words like "creating", "state of nature", "becomes" and "survive". While this article is decrying the brain rewiring work of the Internet it still speaks the language of technological determinism. To quote Baron again "The way we use a technology is always a joint product of the technology's affordances and of the cultural milieu in which it plays out." (p. 234) Jaron Lanier, for all his crankiness, makes this point throughout his book You are Not a Gadget.<br />
The discussion of "the Internet" throughout the article is confusing. It seems to substitute for a discussion of social media rather than the wide breadth of activities that a full use of the medium of the Internet enables. I'm pretty sure no one is going crazy because they are reading too many articles from a library database, or at least no one is studying, or is interested, in those people. When Dokoupil mentions the Internet I would suggest he largely is referring to social media.<br />
My biggest issue with this article is not the presentation of the Internet as a cause of anxiety, depression and psychosis. My issue with this article is its attempt to only present the Internet as a cause of anxiety, depression, etc. For example "And don’t kid yourself: the gap between an “Internet addict” and John Q.
Public is thin to nonexistent. One of the early flags for addiction was
spending more than 38 hours a week online." Dokoupil does not give any current flags for what defines "Internet addiction". Also one of the reasons that 38 hours a week seemed excessive was that typically the user was paying per hour. It was not only time, it was money that was being spent. <br />The Internet represents/offers a mass amount of people the ability to engage in repetitious, rote behavior that, either truly or falsely, offers a sense of connection. Sherry Turkle is right. We are alone together and changes in behavior are necessary. But to blame it all, or much, of it on Internet usage sees correlation without causation. <br />Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-37951712454145616212012-07-06T09:42:00.000-07:002012-07-06T09:43:13.636-07:00Tallking about TED: Nathan Heller's Listen and Learn (New Yorker)The recent copy of the New Yorker has a fascinating, well-written article on video phenomenon known as the TED Talk(s). The first page is available <a href="http://www.newyorker.com/reporting/2012/07/09/120709fa_fact_heller" target="_blank">here</a> and Heller has a web-only introduction <a href="http://www.newyorker.com/online/blogs/culture/2012/07/five-key-ted-talks.html" target="_blank">here</a>. There's several points that Heller raises or makes that are worth noting.<br />
The first is the extent to which the online videos are shot, using 8 cameras (p. 72), and edited to create what is an almost entirely different experience from physically attending the event. This is not necessarily any different than the dichotomy between attending a professional sporting event and watching it on TV. The screen offers a much closer, if not better, view of the field in a very dynamic, almost constantly changing series of views that the producer feels best exemplifies the action on the playing surface. The video viewer benefits though from the dynamic views that the
changing camera angles offer in a way that the physical attendee does
not. However, physically attending allows one to be physically present, "I was there" for the event which grants a particular status (bragging rights) to the observer. I wonder if the TED talks would not be as successful w/o the audience just as the excitement/deflation of the observing physical crowd drives excitement levels at sporting events. The presence of the audience responding enthusiastically is necessary, note the reference to "more than half of Long Beach talks end in standing ovations" (p. 74). I would suggest that the audience response drives the emotional connection on the part of the viewer. Malcolm Gladwell's talk on spaghetti sauce or Ken Robinson's talk on education lack certain poignancy w/o the audience to respond in real-time. <br />
Knowing that the edited versions are streamlined versions of what actually happens in a TED Talk raises, in my mind, some questions of what the purpose of the TED talk is. In conjunction with the editing is the inclusion of narrative over stats/data. Stories are way more interesting than graphs, hands-down. But stories can be left as vehicles unto themselves which is somewhat dangerous because the narrative emotional effect can reduce the story to a emotionally moving moment. Back to this in a second. Robert Krulwich delivered a commencement speech at Columbia University back in 2008 which the Radiolab podcast offered up as a short entitled <a href="http://www.radiolab.org/blogs/radiolab-blog/2008/jul/29/tell-me-a-story/" target="_blank">Tell Me a Story</a>. This is one of my favorite speeches as Krulwich makes an incredible simple argument for the discussion, in this case, of science as story. It's brilliant. He's addressing a rang of incredibly bright science students who are going to go home and when their relatives ask what they've been doing for the past four/five years and what are they going to do now, Krulwich suggests some sort of story to explain the fairly complex scientific thing that the students have been/will be working on. Not because the relatives are dumb but because well-told, well-formulated stories clarify where esoteric language. Krulwich's point being that if these graduates really want to help people get science they need to tell quality stories about that science to help the listeners connect with the ideas.<br />
Which is probably what the point of the TED talk is, particularly the video version. It's a story that the viewer is supposed to connect with. But to do what? Feel good, make a change, submit their own application for a TED talk, play around with TEDEd to make their own version? What's the point of TED? Is it simply edu/infotainment or something more? Does it kick back to the Enlightenment principles of humanism and the cheering-on of what we have accomplished?<br />
I think Heller addresses the most poignant, if unintentional, point of TED, as it currently stands.<br />
<blockquote class="tr_bq">
"The TED talk is today a sentimental form. Once, searching for transport, people might have read Charles Dickens, rushed the dance floor, watched the Oscars, biked Mount Tamalpais, put on Rachmaninoff, put on the Smiths, played Frisbee, poured wine until someone started reciting "somewhere i have never travelled, gladly beyond." Now there is TED. "I got all inspired and my hair stood on end and I got weepy-like and energized and enthused," wrote a participant in an online TED-discussion forum. (The talk that brought on such delirium was about education.) Debby Ruth, a Long Beach attendee, told me that she started going to TED after reaching a point in her life when "nothing excited me anymore"; she returns now for a yearly fix. TED may present itself as an ideas conference, but <b>most people seem to watch the lectures not so much for the information as for how they make them feel</b>." (p. 73) (emphasis mine)</blockquote>
Perhaps the true contribution of the TED Talks is an excitement about ideas. Exiting ideas are good. Isaiah Berlin once stated that "an intellectual is a person who wants ideas to be as interesting as possible." I'm not convinced, however, that the goal of TED is an excitement about how interesting ideas can be, as opposed to a repackaging of that idea in an easily palatable, bite-sized tidbit. There is/can be a place for this type of interaction of ideas but the plastic-wrapped emotionalism of an exciting idea should not replace the messiness and struggling that a truly interesting idea requires.<br />
<br />Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-89698277123963973062012-07-03T10:49:00.001-07:002012-07-03T10:49:49.394-07:00The night each plows<div style="text-align: center;">
<b><span style="font-size: large;"><span style="font-family: Georgia,"Times New Roman",serif;">The night each plows </span><br style="font-family: Georgia,"Times New Roman",serif;" /><span style="font-family: Georgia,"Times New Roman",serif;">A furrow of death </span><br style="font-family: Georgia,"Times New Roman",serif;" /><span style="font-family: Georgia,"Times New Roman",serif;">In the field of stars </span><br style="font-family: Georgia,"Times New Roman",serif;" /><span style="font-family: Georgia,"Times New Roman",serif;">Who calls? </span><br style="font-family: Georgia,"Times New Roman",serif;" /><span style="font-family: Georgia,"Times New Roman",serif;">I am nothing </span><br style="font-family: Georgia,"Times New Roman",serif;" /><span style="font-family: Georgia,"Times New Roman",serif;">But one with the one </span><br style="font-family: Georgia,"Times New Roman",serif;" /><span style="font-family: Georgia,"Times New Roman",serif;">That makes the nothing All. </span></span><br /><span style="font-size: large;"><span style="font-family: Georgia,"Times New Roman",serif;">- </span><a href="http://www.legacy.com/obituaries/santafenewmexican/obituary.aspx?pid=147588141" style="font-family: Georgia,"Times New Roman",serif;" target="_blank">Charles Bell</a></span></b></div>Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-13541399962901900662012-06-11T13:39:00.003-07:002012-06-11T13:39:55.391-07:00Selling memory and conversation: Three thoughts on Apple/Siri's latest adsYou may have seen one of these iPhone/Siri ads from this NPR article: <a href="http://www.npr.org/blogs/alltechconsidered/2012/06/08/154620350/hey-celebs-are-you-lonesome-tonight-siris-gotcha?sc=fb&cc=fp" target="_blank">Hey Celebs, Are You Lonesome Tonight? Siri's Gotcha</a> There are three aspects to the program that struck me as I read the article and watched the included ads.<br /><br />
First: Siri embodies the clueless alien with massive mental firepower-literally a computer for a brain-as seemingly
all-knowing but lacks understanding of basic pop/cultural syntax
or semantics.<br />My best example of this is traveling recently with my two teenage cousins sitting in the back seat of the car firing questions at the Siri program. Ridiculous questions that they would very quickly become tired of asking an adult or peer because the answers to their questions would actually be answers. Instead interaction with Siri offers either straightforwardly sincere (admitting that Siri doesn't get humor minus the occasional flash of programmed wit) or, in response to a particularly obscure or ludicrous question the phrase "I don't understand". In this context Siri becomes a parlor game, a novelty. A harmless interactive-only version of the Turing Test where the questions being asked are designed to stump for purposes of amusement of the listeners. "Can you stump the machine?" This is the context of every friendly alien movie where the amusement comes from the watching the outsider trying to fit themselves into the daily activity/routine with which the rest of the culture is comfortable. At least it's amusing to 13 and 14 year olds. <br /><br />Second: The fact you have to hit the button every time seems like an intercom system to a disembodied intelligence waiting to interact with you. The sense is not of a whimsical, helpful tool but rather the sadness of a deeply, limited conversation and the need to ask questions for almost every single thing. The NPR article suggests that "The overt message of these TV ads is obvious: By the command of your
voice, Siri can help you with the mundane tasks of everyday life." Is this the true American dream-to have our questions/whims answered by simply speaking them, without labor or effort? Or is it deeper that there is something/some entity to always respond to our questions so that we never feel alone? (See this brief history of <a href="http://en.wikipedia.org/wiki/ELIZA" target="_blank">the ELIZA talk bot</a>, built as a sort of simulation of Rogerian psychotherapy.) <br /><br />Thirdly: What's especially interesting about each one of these commercials is the absence of memory. Jackson can't remember how many ounces are in a cup, Deschanel asks to be reminded to clean up her house and Malkovitch wants to know what is in store for his evening. Siri is really only helpful if the user is willing to stop remembering or at the very least cede the role of memory from the user's brain to the iPhone's memory chip. What struck me as well is the sense conveyed that not knowing or not remembering is incredibly "cool", which the use of Jackson/Deschanel and Malkovich as characters, convey. <br />
<br />
(Not to be that old dude shaking his cane at the youngsters on the lawn but this kind of thing that draws parallels to Socrates' story of the loss of memory due to memory. Anne Blair's book <i>Too Much to Know</i>, which I don't have in front of me, also shares a similar story from the Muslim tradition. In both stories there is legitimate fear that writing will eliminate the need to remember. While writing has allowed for the more efficient preservation of knowledge there is something to be said for the act of remembering that, for the ancient world, writing supplanted. There's a distinct difference between purposefully recording a future event and trusting the act of recall to a tool. The paper doesn't read itself.) <br /><br />
<br />Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-23579709753293996592012-06-03T11:54:00.002-07:002012-06-03T12:01:34.363-07:00"Sticking with it" versus "becoming unstuck": an exercise in metaphorYesterday I was reading the <a href="http://cambridgebookreview.com/tag/the-pale-king/" target="_blank">Cambridge book review of The Pale King</a> and this quote, toward the end of the review stuck with me: "...based on the evidence of this novel, I’d take Pietsch’s more hopeful
view, that <b>Wallace was trying to come unstuck</b> and believed it was worth
his while to try to do so and thought of his writing as a way of
understanding how to do it." (Emphasis mine) <br />
This is a great review and worth reading but what stayed with my brain was the idea of "being stuck" versus the idea of "sticking with".<br />
If you're not familiar with David Foster Wallace, the aformentioned mention to Wallace's being stuck references Wallace's struggle with depression. Knowing this background helps to clarify what the reviewer perceived Wallace as being stuck in. One of the best examples of being stuck, at least what leaps to mind is the story of <a href="http://americanfolklore.net/folklore/2010/07/brer_rabbit_meets_a_tar_baby.html" target="_blank">Brer Rabbit and the Tar Baby</a>. Brer Rabbit manages to stick himself so fast into the Tar Baby that his enemy, Brer Fox, comes as close as he ever will to actually eating the rabbit. Being stuck in or on something (i.e. being stranded) is typically negative. Referring back to the quote at the top of this post suggests that becoming unstuck can be read as synonymous with escape or release. For example the phrases "stuck in traffic", "stuck (or caught) between a rock and a hard place" and, with reluctance, Linkin Park's By Myself references being "stuck on the outside" or, with more enthusiasm, The Hold Steady's "stuck between stations", convey a negative or less than desirable state. In describing the creative process there is reference to being stuck at a particular point in the process (writer's block) connecting to the metaphor of the creative process as flow in which flowing freely is a positive attribute but to be stuck is to suggest the pausing or stoppage of the creative flow. ("stuck in a rut"). The negative connotation of "being stuck" connects to the metaphorical understanding of forward is good, backwards is bad. (See Lakoff/Johnson <i>Metaphors We Live By</i>) Moving forward is synonymous with the idea of progress and to be stuck negates progress and/or forward movement; the loss of freedom. Being stuck as a negative idea also references the related metaphor of "life as a journey". If one is stuck, one cannot journey or progress, (Brer Rabbit cannot escape) or therefore being stuck, in many situations, is seen as negative.<br />
<br />
On the other hand the phrase "sticking with it" is positive. "Sticking with it" implies perseverance through a difficult situation and even if that particular situation didn't end successfully the act of "sticking with it" can be added as a sort of back-handed encouragement ("We lost the game but at least we stuck it out to the end.") Successful gymnast dismounts are often commentated as "sticking the landing" or having "stuck the landing" implying the successful setting of feet back onto the gymn floor w/o wavering or falling over. ("Sticking the landing" may have some relationship to the gymnast's ability to control their body not only through the, typically, continuous, movements on the particular apparatus but also to stop completely so that by ceasing all movement they demonstrate the end of their routine and control of their selves.) The phrase "sticking it out" also can refer to perseverance through a difficult situations through a particularly grueling process and succeeding, or at least making it, to the end. ("It was a tough climb, but I stuck it out for the view(s) from the top.") To "stick it out" implies a sense in which the thing (it) in which one is participating or undertaking is less than the sum of the whole. That is the "it" is relatively small to the overall benefit of sticking it out. I think this also has a connection to the metaphor of "life as a journey" as the ability to successfully "stick it out" or "sticking with it" implies that it is a temporary, or at least non-permanent, state. One can stick it out or stick with it because one can see the end. (On the flipside, failing to "stick it out" during a difficult situation or a situation in which others can see the end(ing) is typically seen as failing or a direct result of giving up.)<br />
The ability to "stick it out" carries with it the sense that the "it" is finite; at the very least one can see the end of whatever one is sticking. Because the outcomes of many of life's events are not foreknown, sticking it out also carries with it hope that the end result is different than the currently expected or experienced state of being.<br />
I think the difference in understanding "sticking it out" versus being "stuck" is one of proximity or perspective. Note that "sticking it out" or "sticking with it" are related to whatever it is as companion or as platform. Personal effort is being made to maintain close distance/proximity to the thing that is causing difficulty. One is pursuing or must at least keep pace with that thing to which one is trying to master or beat. To become unstuck from something implies that the "it" has somehow overtaken you or that you are, or have become, subservient to the situation. Brer Rabbit is unable to free himself from the Tar Baby or if one's creative flow is blocked; reading any author's memoir or instructions on how to write often includes steps explaining how to remove that block or to realize the creative flow.<br />
However both metaphors of "becoming unstuck" or "sticking with it" depend on the concept of life as a journey. Both depend upon the idea of progress as positive to derive their meanings.<br />
(I'm not sure if there's a larger concept to draw upon here. I thought there was in the time I've spent thinking about it but that concept has come in and out of focus and currently it's pretty far out of focus so I'm going to leave this here. If I'm able to derive something further, I'll post it.)<br />
<br />Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com1tag:blogger.com,1999:blog-6878432702084458234.post-12657410812824738012012-05-30T10:00:00.002-07:002012-05-30T10:00:42.319-07:00On reading "the other stuff""When Matthew Arnold keeled over, in April, 1888, while hurrying to catch
the Liverpool tram, Walt Whitman told a friend, “He will not be
missed.” Arnold was, in short, “one of the dudes of literature.” Whitman
probably figured that his own gnarly hirsuteness would save him from
becoming a dude. He was wrong, and therein lies a lesson for all
hardworking scribblers: stick around long enough, develop a cult
following, gain the approval of one or two literary dudes, and you, too,
can become respectable...For the longest time, there was little ambiguity between literary fiction and genre fiction: one was good for you, one simply tasted good....The guilty pleasure label peels off more easily if we recall that the novel itself was something of a guilty pleasure. In the mid-eighteenth century, there was a hovering suspicion that novels were for people not really serious about literature. Instead of laboring over" An Essay on Man" or some musty verse drama, readers could turn the pages of an amusing French nove or even on e by Richardson or Fielding. Unlike works of moral or religious instruction, novels were diverting. Of course, if they proved too diverting, how good could they be?"<br />~"Easy Writers" by Arthur Krystal The New Yorker May 2012.<br />
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Great piece on the development and role of "guilty pleasure" reading and the weird shifting criteria that is used to determine what falls into that area. Should it be all Plato all the time or is there a role for the mind expanding story like DFW's Infinite Jest or Bolano's 2666 or Egan's A Visit from the Goon Squad or the latest Grisham? The reader simply doesn't have to work as hard at Grisham, or even Egan, as the other two. Reading can't always be work, I think, because then that process ceases to be measureable by the pleasures of the process.Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-91510593262420542832012-05-27T06:30:00.000-07:002012-05-27T06:30:14.195-07:00Fly fishing<div class="separator" style="clear: both; text-align: center;">
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My family grew up about 20 minutes from the Jersey Shore so fishing with my dad, and occasionally other siblings, off the jetties of Sandy Hook for blackfish in the early morning sunlight with the incoming tide crashing over the rocks was a fairly regular occurrence and are treasured childhood memories. My brother Drew still lives in this area and focuses his fishing time and energies on the pursuit of the striped bass. Striped bass fishing is exciting because it entails wading out into the surf to about belly button or chest deep water and throwing your line with clam attached out and then just standing there waiting for the striped bass to hit. It's 11:00 at night so it's pretty dark standing in the ocean while occasionally things swim into one of your legs. And you need to make sure to pay attention as to where the water is hitting you because an ideal time to fish for striped bass is when the tide is coming in which means the water is going to climb up your body necessitating a slow retreat back towards the shore. Because the tide is coming in, the distance back to shore can be longer than the distance originally traversed to get out. It's a really lovely and enjoyable experience. The gentle slap of the waves against your chest, quiet conversation and, when fortunate, the excitement of the fish on the line. </div>
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I took a couple of years off/away from fishing after a largely empty week-long fishing trip at Lake Champlain. After finishing college though I've started to get back into fishing slowly but surely. While there's two different areas of fishing (fresh-water and salt water) there's also two main types of fishing gear.* The majority, and easiest, is what is known as a spinning reel which is your standard rod and reel setup. You throw out your lure, worm, what-have-you and reel it back at the appropriate speed to whatever it is you're trying to catch. Spinning setups have some variation but are pretty uniform and fairly easy to operate. The other gear option is fly-fishing. Fly-fishing is an approach to fishing that carries with it a decent amount of romance, think Hemingway's Nick Adam stories, and is pretty difficult to do well. Successful fly fishing requires the ability to whip a tiny fly tied to 9-10 feet of quite tiny line which is in turned to a much thicker line, back and forth through the air gathering distance and velocity so that the fisherman can gently lay the fly exactly where he wants it. This requires a decent amount of space especially if one wants to avoid the dreaded side sport known as "tree fishing". </div>
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Largely because of the romantic aspect of fly-fishing, I've always wanted to try it. A little over a year ago, Drew was given a fly pole and reel by a friend which Drew passed on to me. Part of this was pure brotherly altruism the other part was the fact that it's a left-handed reel that can't be switched to be used as a right-hand reel. <br />I've been practicing, off and on, trying to get the technique down which is a decent chunk of work because not only are you thinking about where the line is going in front of you, there is also the backcast, when the line goes back behind you, to be concerned about. There's also the angle of the rod to maintain, how far forward and back you're working the rod tip because too far forward and the fly crashes prematurely into the water and not far enough forward and the fly smacks into the back of your head. There's a lot to think about and it's a decent amount of work. However, it can also be rewarding where "rewarding" equals actually catching a fish.</div>
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My father-in-law and I headed out to Russica Falls last weekend to try out the fly fishing. The falls are about 50 minutes south of the Clarks Summit area. My father-in-law had fished there a lot in the 80's but hadn't been back in a while. The falls, and the ensuing stream/tiny river is a part of the Bushkill which has some pretty decent falls farther downstream.</div>
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For perspectives sake, here's a picture of Russica Falls.</div>
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<img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH8mAhTWztWqxWWe-8ELJ5LzYML4JR4gFBMcaVF_g2VtdetP_xU1dqYmZtsQwySX6AunFWi9Is2AyAD9L38uOLLnjxeMCc-JRH6Sq42mNhX0FpJoNlWtMbVUL6FwlaOTuCdS7qtFSkNaU/s320/IMG_0854.JPG" width="320" /> </div>
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Another picture w/ less brush in the way:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuTgeUj80JC0nyBdATmZzDke7fhT0zLVro596mDC3EF5YcEBudjXYeZwq0UrnY9VPgG_g35X0HMjdR2b5dTx8I___gLd1JMNpmltoJ_riSp26hSd5hIJCMhKSZpsywxcEjZzgPBebQ7BI/s1600/IMG_0855.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuTgeUj80JC0nyBdATmZzDke7fhT0zLVro596mDC3EF5YcEBudjXYeZwq0UrnY9VPgG_g35X0HMjdR2b5dTx8I___gLd1JMNpmltoJ_riSp26hSd5hIJCMhKSZpsywxcEjZzgPBebQ7BI/s320/IMG_0855.JPG" width="320" /></a></div>
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The falls are the first thing you see. You park and then hike down to pick up the creek/river way farther down and then work back up towards the falls. I'm wearing neoprene chest waders and my father-in-law is wearing hip waders because we work our back up the falls in the water. Usually this is pretty straightforward but the water was about six inches higher than normal, due to the amount of extra rain recently received and the stream was pretty hard to navigate due to the current. Also the following pictures appear somewhat blurry or smeared because my phone was in a plastic bag to make sure if I fell all the way in the phone would stay dry. I did actually catch a decent brown trout but since the pole was in one hand and the fish was in the other no picture was taken. My father-in-law can vouch for me, if needed.</div>
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<img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb5uFM0vjP9TCYwUczJ_J7pwMVaCkcgU8fMrQlFBeSxMkl7boPtb7YVR0k3g2B8dJ4QfaGS4jUJdMzg_3L4UWw5XsARj1RnSq0yZ1lcCLbkt3GOfnmveRKE_LMda66_mF5PVpo3RTqIVY/s320/IMG_0847.JPG" width="320" /></div>
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How the stream appeared most of the way. You can kind of see the white water splotches.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiasGLa31LfscFvEwWqmamCJUX6jk9n9onX2ADSAXaK1fMgZI2BHa34YApPLzjJVdoGphkPA5Nh5Uzbbq8fUzWAtkxrJuSFJ134Kv9yKtrr618LZDeluzZGb6PIMi0tc-_xB_nqLcJSbYQ/s1600/IMG_0848.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiasGLa31LfscFvEwWqmamCJUX6jk9n9onX2ADSAXaK1fMgZI2BHa34YApPLzjJVdoGphkPA5Nh5Uzbbq8fUzWAtkxrJuSFJ134Kv9yKtrr618LZDeluzZGb6PIMi0tc-_xB_nqLcJSbYQ/s320/IMG_0848.JPG" width="320" /></a></div>
My father-in-law fishing.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqdllxt8OEoZAQSElYu3eR4ey_o1QOFQD50Ot4UeJ73YAURw2ACPp7wuUS1JilqsKsFAC44_C0eh-Brpj2RAT7BgL0-XL4ZgJiFAk1pUbWUZA0F2_JGVxFD3w7T4nOzs-RryBKMgfYr-M/s1600/IMG_0849.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqdllxt8OEoZAQSElYu3eR4ey_o1QOFQD50Ot4UeJ73YAURw2ACPp7wuUS1JilqsKsFAC44_C0eh-Brpj2RAT7BgL0-XL4ZgJiFAk1pUbWUZA0F2_JGVxFD3w7T4nOzs-RryBKMgfYr-M/s320/IMG_0849.JPG" width="320" /></a></div>
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This shot was taken at a pool where the water was calm enough to try traditional dry-fly fishing.Up to and past the pool we were nymph fishing which consists of a nymph, 2 split shots and a strike indicator which is a bright yellow foam float attached your line that sinks when a fish, presumably, has bitten. You flip the nymph into a likely spot watch the strike indicator float past you and then flip the entire assembly upstream again to repeat the process. While this is dramatically simpler than traditional fly-fishing, it still takes a decent amount of finesse and practice. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQaSgME8eaReIl-LQTEHKdHDAQFwCNii-lkPDnxLQW6JEzyLtaCjbFekQSUCvjTTDVoAwm2kAYk2US89LRlY4vLcJ0YefJNFokKx6H7QhHfRk_UlseE-sTjC71v1DZdzW0yQ7w7XoMnw4/s1600/IMG_0851.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQaSgME8eaReIl-LQTEHKdHDAQFwCNii-lkPDnxLQW6JEzyLtaCjbFekQSUCvjTTDVoAwm2kAYk2US89LRlY4vLcJ0YefJNFokKx6H7QhHfRk_UlseE-sTjC71v1DZdzW0yQ7w7XoMnw4/s320/IMG_0851.JPG" width="239" /></a></div>
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View from my pole headed upstream.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg489KhyjvKZF04GVEwcvNGdGR9jBlZEKyHqnWknVR4B_IZ7PIbpi1VyLDOW-U2p6ddd-6oAc6NmwcXAkxhnZZpEBEVyNX8uqwAbCIZRT3Q9WGu2ANMCpIc-SDCDaw_oklLkkDlaevaBA8/s1600/IMG_0853.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg489KhyjvKZF04GVEwcvNGdGR9jBlZEKyHqnWknVR4B_IZ7PIbpi1VyLDOW-U2p6ddd-6oAc6NmwcXAkxhnZZpEBEVyNX8uqwAbCIZRT3Q9WGu2ANMCpIc-SDCDaw_oklLkkDlaevaBA8/s320/IMG_0853.JPG" width="239" /></a></div>
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Father-in-law working the opposite bank. </div>
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What should follow here is a picture of the 300 lb. bear we saw crossing the road on our way back home but neither of us were coordinated enough to get our phones pointed in the right spot to take the picture or to remember there was an actual camera in the center console of the car so no picture of the bear follows. </div>
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Overall, it was a good outing. We both caught fish, neither of us fell all the way in and saw a bear. Really for a fisherman the only part the really matters is the first part-we caught fish.</div>
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*There's also spearfishing, used w/ scuba and bow fishing which is trying to shoot fish w/ an arrow that has a line attached to it but these are peripheral.Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-14057576769009229372012-05-23T19:43:00.000-07:002012-05-23T19:43:04.034-07:00Imagining the past-Paris Review Interview with William Gibson (Sum. 2011)In keeping with the "disruptive technologies" theme, I came across a William Gibson <a href="http://www.theparisreview.org/interviews/6089/the-art-of-fiction-no-211-william-gibson#.T61ueEfpw6c.twitter" target="_blank">interview from Summer 2011 via the Paris Review</a>. While I've not read any of Gibson's fiction, though it's on the ever-growing book list, I have read some of his non-fiction esp. the op-eds that show up periodically in the NYT. What's particularly excellent about this interview is Gibson's wide-ranging discussion of his writing habits, a short history of sf writing and the interconnection of his thinking about the future/tech, etc. <br />
There are particularly quotable bits from this interview that are definitely worth sharing. (Any emphasis added is mine.)<br />
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"<b>It’s harder to imagine the past that went away than it is to imagine the
future.</b> What we were prior to our latest batch of technology is, in a
way, unknowable. It would be harder to accurately imagine what New York
City was like the day before the advent of broadcast television than to
imagine what it will be like after life-size broadcast holography comes
online. But actually the New York without the television is more
mysterious, because we’ve already been there and nobody paid any
attention. That world is gone....<br />
It’s very, very difficult to conceive of a world in which there is no
possibility of audio recording at all. Some people were extremely upset
by the first Edison recordings. It nauseated them, terrified them. It
sounded like the devil, they said, this evil unnatural technology that
offered the potential of hearing the dead speak. We don’t think about
that when we’re driving somewhere and turn on the radio. We take it for
granted."<br />
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"The strongest impacts of an emergent technology are always
unanticipated. You can’t know what people are going to do until they get
their hands on it and start using it on a daily basis, using it to make
a buck and using it for criminal purposes and all the different things
that people do.<b>We’re increasingly aware that our society is driven by these unpredictable uses we find for the products of our imagination.</b>"<br />
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"I think the popular perception that we’re a lot like the Victorians is
in large part correct. One way is that we’re all constantly in a state
of ongoing technoshock, without really being aware of it—it’s just
become where we live. The Victorians were the first people to experience
that, and I think it made them crazy in new ways. <b>We’re still riding
that wave of craziness. We’ve gotten so used to emergent technologies
that we get anxious if we haven’t had one in a while.</b>"<br />
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"In the postwar era, aside from anxiety over nuclear war, we assumed that
we were steering technology. <b>Today, we’re more likely to feel that
technology is driving us, driving change, and that it’s out of control.
Technology was previously seen as linear and progressive—evolutionary in
that way our culture has always preferred to misunderstand Darwin."</b><br />
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In the first quote, the idea of "trying to imagine the past that went away" is applicable
on several levels to better understanding technological determinism and
the view of upgrading as positive/moving forward. The future seems
better because anything can be read into the future as a possibility;
this is a practice we as humans regularly engage in. The upcoming
elections are an excellent example of individuals attempting to claim
the future by suggesting the most vote-able versions of it. To imagine
the past in a "pure"fashion is to attempt to re-view the emergence of
"disruptive technologies".<b> </b>Because, to a large extent, disruptive technologies are what make the past, the past. That is one way to read history is to mark points of change based on the disruptive technology, that more often than not, is accused or credited with "moving technology forward". To the point of the quote, it may not be possible to remember the past because the present technology drives the past out of our collective memory making it impossible to think past, if you will, what is presently at hand as the present technology requires an investment of time to master.Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-61281863395349033092012-05-22T10:25:00.000-07:002012-05-22T10:25:03.690-07:00When Giants Fail-Christensen and "disruptive technologies""The question [Clayton] Christensen began with, twenty years
ago, was: Why was success so difficult to sustain? How was it that big,
rich companies, admired and emulated by everyone, could one year be at
the peak of their power and, just a few years later, be struggling in
the middle of the pack or just plain gone? The first industry that
Christensen studied was disk drives. He saw that the companies that made
fourteen-inch drives for mainframe computers had been driven out of
business by companies that made eight-inch drives for mini computers,
and then the companies that made the eight-inch drives were driven out
of business by companies that made 5.25-inch drives for PCs. What was
puzzling about this was that the eight-inch drives weren’t as good as
the fourteen-inch drives and the 5.25-inch drives were inferior to the
eight-inch drives. In industry after industry, Christensen discovered,
the new technologies that had brought the big, established companies to
their knees weren’t better or more advanced—they were actually <i>worse</i>.
The new products were low-end, dumb, shoddy, and in almost every way
inferior. But the new products were usually cheaper and easier to use,
and so people or companies who were not rich or sophisticated enough for
the old ones started buying the new ones, and there were so many more
of the regular people than there were of the rich, sophisticated people
that the companies making the new products prospered. Christensen called
these low-end products “disruptive technologies,” because, rather than
sustaining technological progress toward better performance, they
disrupted it. After studying a few exceptions to the pattern of
disruption, Christensen concluded that the only way a big company could
avoid being disrupted was to set up a small spinoff company that would
function as a start-up, make the new low-end product, and be independent
enough to ignore what counted as sensible for the mother ship."<br />
<a href="http://www.newyorker.com/reporting/2012/05/14/120514fa_fact_macfarquhar" target="_blank">The New Yorker Vol 88 No 13 ~When Giants Fai</a>l<br />
This article is behind their paywall but if you can get your hands on this article, I would highly recommend it. The idea of disruptive technology applies to a lot of areas, not the least online education or libraries. Christensen's identification of the way smaller/different companies poach the bottom of the market while the big companies ignore the bottom (the steel story-see also Kodak) is the same issue higher education has with online learning. If some colleges are not going to do online education other entities, not necessarily colleges will. Frankly, if higher ed is going to make it online education needs to be treated not as an off-shoot or version of physical education but as a completely different idea. What would happen if a college jettisoned the online program into its department so that it had the freedom to experiment and try different approaches to develop its own "disruptive technology"?Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-36852389367285593592012-05-18T16:48:00.000-07:002012-05-18T16:49:15.273-07:00On automatic sinks and towel dispensorsThe shift to motion sensor- based sinks and paper-towel roll dispensers makes me nervous. On the one hand I recognize the usefulness of the paper towel machine controlling how much paper towel you get at once to help keep the wet-handed individual from ripping off half the roll to dry off his barely moistened fingertips.On the same hand I recognize the sanitary implications. Of the list of all the places to have extra handles, public restrooms aren't anywhere on it. On the other hand, the nervous one, the motion-sensor based interaction puts the user at the mercy, as it were, of the motion sensor screen, or the towel-dispensor's batteries. Once those batteries die, you're not getting any more paper. If the motion-sensor screen goes, no more water. Also, the lack of a hot/cold handle means that the sensor is choosing your water temperature for you and if you don't like it, you can lump it. Or not wash your hands. Or just carry around hand sanitizer. The marketplace corollary is the self-check out stations in supermarkets and other stores. Though I usually use a card, instead of cash, the times that I do actually use cash, there are specific requirements for those bills in order to be acceptable by the "bill acceptor" as the disembodied voice calls it. The bills need to be crisp, pointed the right way and inserted at the proper time. I've had several instances where trying to feed a particularly aged and crumpled dollar bill into the aforementioned acceptor has failed even though if the dollar bill was handed to a cashier, it would be treated as acceptable currency.<br />
Its is the homogenization or strict guidelines that these type of encounters require that makes me nervous. It's sort of the logical conclusion of the Industrial Revolution. Starting with Henry Ford and the assembly line and moving to Taylor and the Gilbraiths with motion study (the best way to do work) whose work paved the way for robots who can do the same exact repetitive task for hours without tiring or making a mistake. We are moving from having our work performed by robots/automated processes to being expected to make certain of our actions robotic in order to interact with everyday systems. Driving is different because while you can drive like a fool, following the laws of the road make sure you, and other around you, don't die. The automated systems we interact with are programmed to expect an exact, precise input (crisp dollar bills) which is an additional expectation to just having cash. Now there is a requirement for a particular type of cash (crisp, precise and not run through a cycle of laundry). The cash feeder has no compassion, or use, for the crumpled up, taped dollar bill.While the towel dispenser and faucet are more forgiving, the attitude of expectation is what makes me nervous. I'm used to sticking my hands underneath the interface and getting output.What happens when that input (sticking my hands out) fails? Either a specialist fixes the screen or you get a new faucet, chucking the old one (which is a whole other level of obsolescence-planned or otherwise). <br />
What I'm nervous about is the casual acceptance of interfaces to help us accomplish our work without thinking about the consequences of using/incorporating those interfaces into daily life. I've got nothing against self-check out stations. But the fact that the machine treats different types of currency differently than a person does/would, matters and should not be ignored.Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0tag:blogger.com,1999:blog-6878432702084458234.post-72367322498005833892012-05-17T09:13:00.003-07:002012-05-17T09:13:55.194-07:00Reading Suggestion<div class="MsoNormal">
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<![endif]--> there is a link to a free excerpt from a book called Liberal Arts for the Christian
Life edited by Jeff Davis and Philip Ryken.* The excerpt is by Alan Jacobs
entitled How to Read a Book. (<a href="http://static.crossway.org/excerpt/liberal-arts-for-the-christian-life/liberal-arts-christian-life-download.pdf">http://static.crossway.org/excerpt/liberal-arts-for-the-christian-life/liberal-arts-christian-life-download.pdf</a>)
Jacobs recently came out w/ a book called <a href="http://www.amazon.com/The-Pleasures-Reading-Age-Distraction/dp/0199747490/ref=sr_1_1?ie=UTF8&qid=1337271006&sr=8-1" target="_blank">The Pleasures of Reading in an Age ofDistraction</a> which I would highly recommend. This excerpt is in a very similar vein. </div>
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"Attentiveness is an ethical as well as an intellectual matter; it’s about treating our neighbors as they deserve as much as it’s about getting facts into our heads...Mikhail Bakhtin, a Russian polymath who was perhaps the greatest literary theorist of the twentieth century, once commented that in any given conversation the real initiator is the person who listens, not the one who speaks who would ever speak unless he or she believed that someone would be listening? It is the listener who elicits the speech, brings it forth. The speaker counts on a responsive listener. In the same way, a writer counts on a responsive reader...This is what writers want also: for you to “enrich their words” with your own responses....this too is a sign of respect: when I register and explain my disagreement in a book, I demonstrate that I am paying attention and that I care about what the author is saying..."<br />
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*I'm not a huge Crossway Press fan. The last two books that I read from this press were pretty lame. This book seems a bit more substantial, esp. considering the editors and even the inclusion of Jacobs in the contents.Jeremy McGinnisshttp://www.blogger.com/profile/17555069058483963719noreply@blogger.com0