29.3.06

Gender Trouble



Subversive Bodily Acts, Gender Trouble: Judith Butler
0018922
OK first, I want to applaud the author on the use of the term "trouble." I like this term because it makes sense for average people and is a lot better than hermeneutics, signifier, and gestalt. It subverts a lot of binaries. I can both "make some trouble" [fun], but also "be in trouble" [bad]. Trouble can be both a cause and an effect. Trouble usually means change, as in "stirring up trouble," but trouble can also be a place of stagnation: "I don't know where to go now, we're in trouble." It always implies an interaction of the social with the individual. Trouble is a group situation, usually with personal consequences. Even if trouble only affects an individual, there must be hiding of the trouble required to prevent a social repurcussion, otherwise it would be easystreet, not trouble. To apply trouble to gender is subversive; trouble is such a great magical word! We use it in common speech; therefore, it's likely to have more resonance than an imposed academic word. I wish this term was used more in the essay, rather than just the beginning.

Butler's essay is way too long in my opinion. I was very excited at the beginning of reading it but as the pages went on I was grew impatient. I think her words must have been very prophetic at the time they were written, 1990. It seems like her ideas about gender are very modern and accepted now among activists and academics. Perhaps because we have moved so much in her direction, her ideas are so much in the air. To read them now explained as if for the first time, way back in 1990, is kind of bland. Overexplained anyway.

  • ontology - philosophically looking at very basic ways of being and very fundamental relationships
  • genealogy - she pretty much explains Foucault's use of this word which is a lot more exciting than DNA and I never appreciated his use of the term before. I like the idea of the story of what makes truth rather than some supposed divine empirical reality. In politics and power, any other approach is naive
  • synecdochal - use of a term figuratively or metaphorically. A material or characteristic such as 'Plastic' may be used to indicate a credit card, the general may indicate the specific as 'Police' for a couple of officers, or vice versa specific to general 'head' for cattle.

Butler is basically trying to break down our binary understandings of gender, sex and sexuality. She does this from a feminist perspective. Nowadays with various queer movements front and centre, a lot of this stuff is the focus of public debate. But our bathrooms are still segregated. I find myself reading this backwards as a history connecting how queer issues were eventually embraced by academic feminism. Feminism has not always been an open and inclusive movement. Role playing butch/femme and cross-dressing forms of gender-bending were once thought of as antagonistic to feminism, which was certainly a mistake.

I like how Butler comes across the parody and satire trickster themes now and then. "Laughter in the face of serious categories is indispensable to feminism." She does give some credit to early cross-dressers as troublemakers. She does pose the very important question of the role humour can play. She distinguishes between Pastiche and parody, which is useful. How can we use parody to be subversive and not just reinforce bad stereotypes; such as racist jokes; calling weakness pussy? Context is fundamental and therefore community. Humour is not an absolute isolated Western atom of The Truth.


Much of the essay deals with various binaries: true/false, body/polluting other, natural/profane, civilisation/primative, other/self, cause/effect, order/chaos, active/passive, change and tradition. The "implicit hierarchies" are all dismantled and questioned with the theme of sexuality being exploded from the gay/straight, man/woman, masculine/feminine. She combines Cixous's terms and calls it phallogocentrism! While I agree with all of this and I suppose it is important to lay it all down in writing, that part is what dragged on for me too much.


The 'body' is one of the main themes in this essay. Butler questions the role our relationship to our bodies does play, and the binary of spirit/body as oppressive. It is a very useful personal level of understanding and also a fertile metaphor. Our bodies are very much constructed by our minds and ideas, by our culture and social self-image. She tries to find some kind of origin for the myth of body as totally separated from everything else. Significantly she notes the Christian and other political causes for this. I think the future implications of realising that our bodies are not mute is more important than that history. The history she outlines is too abstract to be a new perspective on her own opinion.


Taking the perspective of feminism and then debunking the notion of the feminine leaves her essay in a very exciting space. She is questioning the very foundational principles that unite women as feminists, but also opens it up to others. For a movement, it's quite exciting to imagine what are the principles behind feminism beyond all the focus on who is and is not a women. Leslie Feinberg is a transgendered activist I was listening to on CiTR as she spoke at SFU on the 30th birthday of the Women's' Studies Department. This part of the essay reminded me of Feinberg who was such an incredibly inspiring speaker. She talked about Frederick Douglas as a feminist/ally. There is a long history of equal rights way beyond and before Stonewall. If I think of a feminist movement that is not just about advancing women, because women are no longer seen as an isolated category, I can make some of the political/philosophical connections. It's an ideology of embracing the body and not being separate from it. It's a movement using the power of sex in a positive way, not hiding or condemning it. It's beyond the idiotic binary of materialism versus spirit, towards useful hybrids and non-static truths. It's about motherhood, therefore fatherhood, everything inbetween and beyond nuclear family. Basically Feinberg's message was that movements do well when they are inclusive, they are powerful. The history of social progress is plagued with sexist unions, racist feminists, and heterosexist communists bringing down the thing from the inside. Academics' support for the invasions of Afganistan was made in the name of 'liberating' women there. But it's also an inspiring story of people moving beyond that. Feinberg and Butler both breath new life into feminism. Movements that gain power often get trapped by power and it takes this kind of inclusive energy to renew.


Some of the other bodily exciting ideas Butler brought up, points of departure for me, were:

She suddenly dived into gay sex, out of the abstract, on page 2493. That was abrupt. The metaphors were a bit too "compelling" about orifices. She was negative about that stuff. When I read it, I thought of a joke: that the anus is holy because it transcends the interior/exterior; holy anus! Butler made a comment about shitting on others here in the text, which was not nearly as fun.

The idea of AIDS played such a significant role in the concept of gay people in the mainstream. It's a very obvious bodily form of repression. How successful queer rights groups have been to turn the idea of AIDS from being a weakness into a strength! AIDS kills, but it also brought people together and focusing efforts.


The part about rejecting milk, rejecting self, reminds me of kids 'science' books from the 1990s, like Grossology, which were very popular in breaking taboos. Our mainstream culture has embraced these bodily functions in humour in the past decade but it may be in the problematic Pastiche kind of way. In any case, Butler is right-on to focus on this cultural topic back then.


When she gets into Foucault and talks about incarceration, she brings up writing on the very body, the State's oppressive laws. The mind is indoctrinated but so too the body. Isn't it apt that tattoo's, imprinting on the body, is so often done in prison?


Anyway, I liked this article. The ideas are very significant to now. I think she is wise in repeating how repetition of action is how we live life. We need to look at all these binary assumptions in the everyday.

Q: Could Feminism be like the new Socialism?

Reassemblage



Reassemblage, film by Trinh T. Minh-ha

Terminology explained with the help of wikipedia and other internet sources:
Joola drums - Kind of confusing. This is a popular Chinese brand of drum. However it may also be the drums of an ethnic group such as the Jola often Catholic and 'Animist', or perhaps the Dyula [aka Dioula, Joola], a Mande ethnic group often Muslim. There are a lot of different ethnic groups out there and I would need a big chart to identify them, and the separations would be contrived since I've never met any [that I was aware of].
Casamance - Area in the South of Senegal, also the name of a river. Lots of rainfall here in contrast to the rest of the country; lots of Tourism and rice. Host to a separatist movement and related violence.
Enampor - A tourist and rice growing village in Casamance.
Andre Manga - A famous musician originally from Cameroon but lived in Paris in the 80s and now in Los Angeles.
Djumalog - I think this might just be a name of a person in the film. Google thought it was a misspelling of 'Dialog.'
Sereer - also Serer, the second largest ethnic group in Senegal, but made up of at least 6 different mutually -unintelligible language speaking groups.
Boucoum - Well, Bocoum is apparently a common last name in Senegal, And the article says it is a village, so we'll leave it at that.
Manding - also Mandinka and Mande, a significant ethnic group in West Africa supposedly descendants of people in the Mali Empire. This was an Islamic state and the rulers were famously generous and wealthy, their fabled wealth made Timbuktu.
Peul - aka Fula, Foulah, Fulfulde, Peulh, and self-identified as Fulbe [Plural] or Pullo [Singular]. The only traditionally nomadic group in West Africa. Defined by language, they speak Pulaar [aka Fulani and all the other ethnic names above]
Bamun, Bassari, Bobo - Different smaller ethnic groups in West Africa more concentrated in other countries than Senegal.
Fulani - See Peul
Sarakhole - Another group of people not mentioned on the internet except in the name of the Sarakhole Boutique in the Senegalphonebook.com.
K-about - I don't know.
Well this is quite the ethnological montage. All about postcolonial /colonial /globalisation... Well, about the actual place that is the other that the West still views as primitive.
A couple of quotes from an interview by Tina Spangler at Emerson College [1993]:

"It is only when I am reduced to being 'either/or' that clear-cut boundaries become very questionable to me."


This summarises my feelings of the pastiche of the film. The text is repetitive and not direct, showing many angles. It shows the arrogance of the colonisers as they, "First create needs, then help." But also the Others are curious and follow the ethnologists, they mention problems of polygamy. It's not a simple relationship. Medicine is provided but is dispensed with religion.


The statement that 20 years makes "2 billion people define themselves as underdeveloped" is incredible. We are reminded by the magnitude and voracity that colonialism is far from over - in its implications anyway, however you define colonialism.


I would be tempted to draw out more meaning since the script reads almost like a poem, each scene full of meaning. However, Minh-ha is very critical of the script and clearly states that the film itself is the more important aspect:


"a very important aspect of my scripts, which is that these scripts were not written before the film was made. They were mostly written during the shooting and during the editing... It is important to keep in mind that the script is no more than a kind of skeleton. It is like a dead skin that the film leaves behind once it is completed."


So, I don't think that I can really conclude too much from just the text. But I do find it overall to be a well balanced way of looking at the situation. There are so many different groups and so many factors, the identity of exploiter/exploited and other binaries just get in the way of understanding.


I'd like to see this film.


Question: Why did Minh-ha pick Senegal of all places? The only connection that I can see is her Vietnamese background which has a similar French colonial influence.

27.3.06

Fundraising to go back in time and get George Bush pre-emptively aborted

build me a time machine!!!


it would be a purdy simple matter of consciounse. Also I'm talking about GWB Sr. aka king georgey porgey 1st, because that would be more helpful to the sandanistas and the east timorese and heck, iraqis and iranians in the 1980s that died due to USA support of saddam.

abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion. abortion.
abortion.
whateva treva.
we have reached our goal and fundraised 65$ trillion dollars, 65 years worth.

I don't know why that guy...

hell yes, you do so know!

I think eugenics is creepy. Managing death isn't really ok in our fucketed up culture. death traps speeding along the highways. euthenasia. youth in asia? use a condom and don't be so poooor.


Wymmns need to make their own choices you know. In case you didn't notice!
"Duh! just in case."
"Nu huh, Obviously..."
Individuals always above the collective. Rule by majority after all. Minority rights are humans rights.
"Just ask the king for permission from God."

As we all are beleivers, I see no moral dilemna in you getting an ah-borts-shun:
"go.!."

...forth and fucky-sucky. But for God's sake don't get
preggers. We don't need more starving orphans. We have enough trouble as it is feeding these ones to Detroit.


12.3.06

BEGIN THEDATE


I already know but I don't know what to do about it. There is a war on and somebody needs to stop it. I've fought mack against authority. I know how to deal with complexity. I know how to naviagate the world af infinite perspectives.

So do all of them, I think. So why aren't they standing up?

The truth of yourself is always with you but it is the easiest part to forget. I don't think so.

War, War, War.

Simple this time.

9.3.06

Repetitive Music is God

Repetitive Music is God - Review Pop Music v. Multiples: Phil Smith
by 0018922

I liked going to raves when I was a teenager. I liked to dance to House, Trance, Breakbeat and whatever music. I still listen to a lot of electronic music. What is the purpose of this music?
Well, if you look around at animals, plants, the stars or the sun, you tend to notice that in our real life time is cyclical rather than linear. The linear perspective is mostly a human viewpoint.

So, the whole critique of repetitive music rings very hollow to me. I don't think any death instinct or reflection of late commodity capitalism is really very likely. I surely think about such cultural theories when I get into a trance like state with repetitive music. The music itself does not suggest it. Music is repetitive and allows me to think clearly. Other times it is distracting. There is more significance in the medium of recorded delivery, which automates and repeats consumption, than the content of this art. Recording takes away human intimacy and that can be isolating. Perhaps 'inhuman' repetitive music is a compensation for this.

If you look at other areas of art, the visual, objects... then repetition is a more significant aesthetic issue and can be grouped by that characteristic. It is not 'natural' in biologically essentialist terms to repeat the same picture in the same way with a printing press. It is 'natural' to use the same sound or word repeatedly. Look at this page of writing. How many of the exact same words do I use over and over again? My use of the word "is" is surely indicative of my death instinct? I reject the application of Freud to music culture theory.

It would be an extremely difficult task to make music without repetition. It would not be possible unless you defy most all musical conventions including rhythm and chorus. Dialogue about repetitive music ought to seriously distinguish normal music from abnormally repetitive computer music. In such computer output the repetition itself serves as the 'musicality' that distinguishes this 'music' from 'noise' or ambient sound.

But, we didn't get to listen to much Kraftwerk. And we never listened Orbital.

The focus of the talk was on pop music, which is generally quite far from the robot music that can seriously be classified as repetitive as a distinguishing rather than normal feature. The only example we were given was Donna Summer's I feel love. Still, the obviously organic sexual character of the singers voice, not even looped, was terribly important to this being mainstream.

Phil Smith's talk was mostly about copying of music, sampling, covering and the sharing of ideas between people. Musical creation is a collective not individual act. That specific authentic originality is a disingenuous trope. But we didn't talk about copyright. Too pithy. It's not about repetition so much.

I liked the music that was played. However, I know a thing or two about music myself, I'm a bit of an esoteric musicphile. I don't think the music played as example served as a good frame or model to examine repetition. There were 3 possible topics and none were chosen clearly:
1. robot repetitive music such as a loop of a door slamming or something equally absurd
2. the influence of such music [mentioned in #1] on pop music; the creeping technology is sinister because instead of being critical or ironic, it's simply the background to the Britney Spears. The dialogue of the academic art music is dropped.
3. copyright issues: musical sharing, and the social position of music in our culture as a tool of communication. You can't write a song that's never been sung.
It seems that this presentation was mostly about 2, though claiming to be un-naive about 1, yet only really having any conclusions of relevance to 3. He connected ABBA and Madonna, Memphis Minnie to the Beastie Boys, and showed us how invariably referential music is. A more narrow focus would have better served the presentation, and given more of an arguement. The idea of a repetitive society wasn't really connected to remixed music.

Rather than pick on repetition, which may be like picking on all music at once, we ought to just pick on the commercialised pop music system. It force feeds musical paradigms in a way which disempowers the listen from being able to talk, to own the language. Entire genres are passed over for a more simplistic understanding. However, filesharing on the internet may expose these genre's to the mainstream, penetrate the episteme, by killing pop music. Hopefully.

---
I was listening to Blondie's Parallel Lines (Darkside_RG), and Annie dj kicks. Both were downloaded off the internet for free using Bittorrent and on random mixed playback on my computer as I wrote this.
  • Phil Smith. "Pop Music v. Multiples: Re-mix/Re-model." Art History 333. Interdisciplinary Forums: Studies in Contemporary Praxis. Emily Carr Institute, 2 March 2006.
  • Darkside_RG. "Darkside Ripping Group." Anonymous illegal filesharing brand name. 9 March 2006. http://www.torrentbox.com/account-details.php?id=81446

2.3.06

Brian Jungen Exhibit Review

Brian Jungen Exhibit Review
by 0018922

Good God, everybody loves Brian Jungen right now. I sure wish I wasn't so boring, but I love him too. This exhibit, it was a chance for me to see in person many of the works that I had heard described and in photographs over the years. I've been a fan since I took an aboriginal [NDN] art history class with Dana Claxton. His humour is unmistakable, as is his approachability, and polished aesthetic.

I went to the show on the members opening night and it was packed - literally - the lobby of the Vancouver Art Gallery was like a crowded summer concert: lot's of students. And of course, Jungen did graduate from Emily Carr; he has lots of local fans.

His body of work is very relevant to the themes of this multiples course. Not all of his works are multiples, but most of them question what is unique, or betray it. I see him using the products of our mass production society, consumer products, as if they were the raw materials of nature used by NDNs in bygone days. His work is conceptually genius. This was the first overview collection of all his works.

A great example of this is the 'teepee' made specifically for this exhibition in the gallery out of black leather sofas. The process was helpfully documented in a 20 minute silent video. The furniture piece was slit open, gutted and skinned, as would a buffalo, one can imagine. All parts of the sofas were used, just as all parts of the animal might be as part of a spiritual reverence. The bones of the sofa, the wooden frame, is rebuilt into the tent poles and pegs that fasten the doorway. Actually, he might not have used and sofa stuffing or springs. Or maybe they were cushions inside? The smell of the piece was excellently gross, it permeated the whole room like a yuppie furniture shop.

The shoes are his most famous bit, entitled Prototype for New Understanding. These were nice to see in person, displayed in cases as if anthropological artefact. I noticed he used some rivets in construction. There are 23 of them, the number of Michael Jordan that was frequently embroidered on the original Nike Air Jordans that begot the 90s sneaker phenomenon. Jordan is said to have purchased one of the masks.

I noticed he left the pricetag labels on the lawnchairs. This was for the gigantic whale sculptures, all 3 of which - Shapeshifter (2000), Cetology (2002) and Vienna (2003) - were hung as if floating weightlessly. These are imposing pretences, revellers tended to hang around them. The VAG children's section focused on these and the material connection. Fossil fuels are used in the plastic chairs and in the fossil whale skeleton represented.

I liked being able to see the cedar wood warehouse palettes. This is a sort of inverse of the tepee conceptually. By using fine red cedar as this waste material packaging product, he uses NDN natural materials to create consumable items. The difference from this and a normal palette is it is even more fine wood than normal and it is finished so beautifully. A very sad and stirring piece simply about waste.

The wall carving one was great. He had researched what non-native people would draw as typically 'Indian' representations. The typical stereotypes of a tepee, a canoe, a tomahawk and a crude totem were displayed next to a beer and Lysol bottle drawing. These crude images were carved into the pristine white gallery walls with a plunge router. It was like real archaeology how you could see the layers of colour in between the layers of white paint; I knew one layer was certainly the massive change exhibit [which I hated] and that was exciting to give a sense of place. The reversal here was of the question 'who is primitive?' Clearly the non-native carvings were base.

Those were the more successful pieces. For others, I'm not sure about how effective the concepts are without the little write up plaque to explain. I went in with a lot of stories in my head already. Many don't need the explanation, such as the shoes, they are intriguing just to look at and understand in that way.

The pile of cafeteria trays on a palette was conceptually intriguing but without the write up was a bit weak. This one is about prisons and inside it is a TV hidden. It's a great story when you know it but the TV is too well hidden and with his refined cedar freight palette supporting the stack it just looks like a material form.

I thought the baseball bat talking sticks could have been better displayed they were a bit didactic. They are a bit American. Hockey sticks might work better up here? Or is that too Molson?

Finally, the Beer Cooler (2002) was again a stage of natural interactive conceptual performance. This it was displayed, it was guarded. An imposing gallery guard, just for the finely carved plastic beer cooler said we could open and look inside but not take a beer. A friend of mine got into an argument with him about that and even called on one of the co-curator types who agreed that Jungen's intent that the beer was meant to be drunk and spoil the environment of the gallery. But I guess the guard really felt his duty was to protect the beer.

Jungen's NDN themes are always a bit of a joke. He references the traditional but also mocks it by being only vague in presentation. Some of the Nike masks resemble Darth Vader, not any specific traditional mythology. Not really being accurate he plays with stereotype.
He doesn't call himself a 'native artist' because what he makes is for the display case or gallery and not ceremonial integrated social usage. On the other hand, even this is a critical stance because maybe he is critical of how we know NDN art mostly through museums and sterilised from its cultural context. Art or Artefact?

I think his work is very hot right now as the politics of NDNs is coming to enter the popular consciousness. We will see a lot more NDN/hybrid art in the future and this will be good: the Vancouver airport versions of Bill Reid and our $20 bill. Like in New Zealand, those are offensive to some NDNs not because of the art itself, but because of the simulation it provides of a just integrated society. In fact we still have NDN Reserves with apartheid like racial legal divisions, extreme poverty among many aboriginal communities, and mostly live on illegally occupied unresolved land claims land. And the NDN wars aren't over if you look at examples close to home of Oka, Gustafsen lake, Cheam, Sun Peaks, or up near Squamish the Elaho. So representing to tourists with token high priced aboriginal our political correctness is a falsehood.
Jungen through all of this portrays a sense of humour. He exhibits the 'trickster spirit' and thus I would certainly classify him as among the great NDN artists of this land.

"Award Winners and Nominees - 2002." Sobey Art Award. The Sobey Art Foundation. 01 Mar. 2006
<http://www.sobeyartaward.ca/winners/2002.htm>

"Brian Jungen." Vancouver Art Gallery. 01 Mar. 2006

1.3.06

mid term exam

mid term exam
cultural theory
emily carr institution
teacher: p c
student: r b a
#0018922
01/03/06


1 Define Ideological State Apparatus (ISA) and Repressive State Apparatus (RSA)
The RSA is the system of force which ensures people co-operate with the state. This system includes the police, the army, jailers, others in the justice system, other security personal primarily as obvious wielders of force. Aside from that one might include other forms of physical coercion such as food control, land control, movement control. The welfare office that limits food subsidy based on agreement with whatever requirements the state has in place, such as demonstrated need or citizenship. The border guards and passport offices, immigration officers. Banks too may perhaps be considered, given their subordinate role with the state [even if they are private] at limiting who can have money and how. Also, the threat of force is really more important than its use.

The ISA is an even more open ended creature and could in some ways apply to all producers of culture that that tacitly support the state, maybe even aboriginal artists who accept money from the state and allow their ideas to give ideological merit to the state. Althusser's list is quite long, including institutions of religion, education, legal, family, political and policy, trade union, communications media, and finally arts and culture. These groups form ideologies which make people believe that whatever laws or repressive measures the state employs are necessary for whatever reason. They make people believe they have no choice, or in a consumer society, that their field of choice does not include changing important foundations of state power or class.

Who introduced these ideas?

Althusser talked about ISA and RSA specifically and defined ISA in that essay in 1968. Gramsci was very influential in emphasising Ideology as coercive. Marx and Engels introduced the ideas of ideology as superstructure to the academic discourse. Certainly they were floating around since the beginning of civilisation when the oppressed noticed that the army and the church were very powerful when they walked hand in hand. Of course, if you want to be sticky about giving the famous men the credit, previous criticisms of the church before the enlightenment were fundamentally different because the nation state as it now exists had yet to come into being.

Differentiate:
The difference between ISA and RSA comes down to method and purpose, though both are intertwined. The RSA is focused on using force, though it may also play a deterrent role it is kind of the backup, reaction to disobedience. The ISA is about negotiating to make the subject see that they are better off co-operating. The ISA is more important and effective because Repression is seen to be unsustainable. But, if people believe in co-operation with the state then small amounts of repression to correct the errant few can be sustained.

You can fool all of the people some of the time and you can fool some of the people all of the time.

Significance:
The significance of the ISA and RSA is an articulation of the position that opposes the state fundamentally, as being coercive. It is also a good excuse for why simple revolutions of the past have not been successful, why 'the people' do not just rise up when it would seem apparent that they should and could. The ISA is the significant part of the understanding because it is more complex and less understood.

The problem with such outlooks as the ISA is that they tend to oversimplify in black and white terms, allowing for an ironically very totalitarian individualistic outlook, rather than social co-operation. In a plural society people must have incongruent ideas, but it is easy to label education and behaviour that is not in agreement with the subject as ideological, whereas the subject of the author is necessarily objective. The ISA gives agency to the state where there had been none articulated. This has been useful ironically not in revolutionary movements so much as revolutionary reform movements such as anti-racism movements in the USA, where the state was forced to take responsibility for the treatment of 'the other' in schools and public spaces which may have been previously seen by liberals as a laissez-faire realm of social interaction.

It is damaging however to over assign to the state responsibility for all ideology and thought. While of course the state may benefit from an episteme, it is not always the author. Patriarchy for example may be bigger than the state. Smaller scale useful actions of community building are often left out of all this high minded empires and revolutions talk. These local realities are very often infinitely more important and the only real strategy for addressing the macro scale after all. The simplification of us-and-them that ironically is articulated in the ISA concept may splinter local communities and not allow for the important resistance that happens there.

2 Strengths and Weakness' of Barthes Myth Today semiology concept:
Barthes concept of semiology is that myths are understandable by dividing them into the underlying structure of the language or texts [which can be in any medium, such as image] that make them up. The sign and the signifier combine to make the signified. Myths are kind of like signs in French. His idea of myth is, as in English, a story. Rather, certain singular objects, the sign, contain reference to a cultural story, that may be hidden and assumed. This is about exposing ideology in everyday discourse.

His semiological system was an attempt at finding a standardised methodology for analysing cultural phenomena. However, since then, semiology has proved to be subjective and not an objective science. This despite Barthes desire to found a science. It is a social science, or maybe not even that objective, as the methodology is subjective dialogue, not repeatable experiment.
The strengths of the concept is that it devises a language for talking about these things in a more standardised way. By isolating the essence of various concept, the function of the signifier can be articulated somewhat more universally in a sign. I would not have understood the thing about the black soldier on the cover of this French magazine but Barthes goes into it in a way which is quite didactic and less controversial since you can point to specific assumptions he makes in the formula and argue the point but overall there is a sort of way to share the culturally subjective discourse.

The weakness is that the 3 terms are totally confusing and sound like the same word. Perhaps they make more sense in French. This contradicts his purpose of using this system to compare myths across language, given that semiology resonates with a French audience more than an English one. The weakness is also that the method is too open to subjectivity so that many will dismiss the entire method before engaging the differentiated components. So, it fails to be more objective, just a kind of removed academic language.

Lastly, as others have pointed out, signs and myths cannot be reduced to singular ideas. While he does acknowledge layers of signification and the duality of a sign also being a signifier, he builds this into a hierarchy. In truth, many signification contradict, overlap, or just don't conform to the structure of hierarchy. Signs may have entirely different meanings in the same context, based on individual complexity. Complexity and plurality are inescapable aspects of our culture. So an atomistic look at relationships is too limiting.

3 What is the Mirror Stage
The mirror stage is when a child develops and is maybe 6 months old, but that doesn't matter too much since it is a metaphor in an inevitable stage of development. The idea is that the child sees herself in the mirror and gets his understanding of his/her self versus others by this. The self is alienated by the by the symmetrical inhuman mirror and later alienated by our oppressive society. This fragments the self so that dreams will reveal our true unconscious repressed desires.

Some interesting animal psychology leads us to believe that the mirror can substitute for the vision of the other that is necessary for sexual development.

Who is responsible for this term
Lacan is responsible for this term. I somehow doubt he worked with children all that much. He bases a lot on Freud.

Is this, and how is it, relevant to your own understanding of self
The thing about Freud and Lacan, is that they are totally nuts themselves. But, through intuition, observation and luck, a lot of what they say has a certain resonant truth. Many of the ideas are absurd and bad prescriptions: like Oedipus, overemphasis on dreams and mirrors. But, they do illuminate certain unreasonable behaviours that are typical, and provide advice as to approach that is sometimes useful, sometimes off putting, always entertaining [if it doesn't go on too long]. Vagina Dentata is a great image, even if it hasn't anything scientific about it.

I was a bit of a lonely kid at times and stared in the mirror or played games with myself and the mirror. This maybe has contributed to how I am shy and gaze without interacting. Maybe there is some utility in the idea of mirrors. Certainly, by interacting with inhuman curiosities like mirrors, TV or computers, healthy social skills are not developed. On the other hand, spending energy worrying about mirrors is not likely to help you spend time realising your full psychic potential.

4 How do Foucault's concepts of authorship challenge convention? apply to ECI.
Foucault undermines the idea that authorship matters supremely. He wants to get away from questions authenticity and fame in writing and more to the substance of the text. He talks about how authorship changes when somebody dies, how we often look at a text to try and find the intent of the author rather than its effect on us. Also, how we suffer for our art is supposed to lend more authenticity to its creation and this implies moral ideologies of suffering that are somewhat religious.

Foucault tries to deconstruct authorship. I think this is a commendable exercise. However, I think by being so relativistic about it he overlooks some of the more concrete reasoning to challenge the notion of author. he goes on and on about how names are important or not important, how fame can effect things and such. However, he doesn't get into the reality of ideas being copied as natural and inevitable, as much as he could. For example the term ISA. Who is the author? It depends on how complete the idea is expected to be before you cut-off the concept and say: "It was him."

Foucault was not very effective at dismantling the idea of author because most people read his stuff about authorship more because it is him who said it, not because it is instructive. So that's ironic.

As a creative person who is told that what I do is original and unique, I have often doubted the nature of authorship. Putting two things together that you got from others can be the stroke of genius, even if the two parts by themselves required a lot more authoring than did the haphazard combination which may be luck. Sometimes I doubt the possibility of original thought, given our shared perspective and creation of meaning. My own perspective is different sure, but it is fundamentally the same to 6 billion others. I doubt I am all that unique. The concrete idea of property and copyright and patents is not explored very thoroughly but as a semi-Marxist, ought to be a more underlying perspective.

I think it would be a lot more challenging and interesting to look at authorship in more real terms and less general. I find Foucaults philosophical approach ironically less philosophically deep than when I look at this concept on my own and discover real history of this stuff. It exposes whatever Foucault said but a lot more too. When we look at pre-contact aboriginal societies, the NDNs [here in BC] tell us that they didn't have private land but did have private spiritual name songs. The issues of private property and public being paramount, I would rather look at history than 1960s grandiose theoreticians. The truth is stranger than fiction, after all. He does focus on discourse, so he does point at what will be more useful than just staying within his own framework.

Here at ECI, the implications of authorship are quite important though they are often overlooked, despite Foucault being part of the mandatory curriculum. It seems that the paradigm of the modern artist taught at this school, especially when one looks at cutting edge conceptual art, practically is branding and marketing. Artists are individuals who are 'content-producers.' In a digital age, we may not actually produce the content, merely design it and then subcontract or press 'GO' on the computer. We become the vanguard of copyright and patent private property extension and enclosure. That guy who trademarked a certain colour of blue may have been trying to be ironic, but he paved the way for Pepsi to follow suit.
There are also many artists who realise the danger of totally and completely turning art and all its ideas into a commodity. The alternatives are yet to be explored. There is the past, which provides many alternatives. However, the teaching and futurists all point to expansion of intellectual private property in law and business.

I think that Foucaults ideas are very relevant to ECI but more sensible modern interpretations of this rapidly changing field are more relevant than his particular diatribe.

As they said in the very old days: "You can't write a song that's never been sung."

  • Althusser, Louis. "Ideology and the Ideological State Apparatus," 1970
  • Barthes, Roland. "Myth Today," Mythologies, 1972
  • Lacan, Jacques. "The Mirror Stage," Écrits: A Selection, 1977
  • Foucault, Michel. "What is an Author?" (1969), Art in Theory, 1992

Postmodernism, The Cultural Logic of Late Capitalism

Frederic Jameson, from Postmodernism, The Cultural Logic of Late Capitalism
by russlle Aadms Bukre

Well, he came to a conclusion I agreed with, eventually. I don't know how he got there, but he did. Along the way Jameson used - in typical cultural theorist fashion - all sorts of confusing unneeded words. Let's look at those first: [from wikipedia, wiktionary and google of course]
millenarianism - mostly related to Christian apocalyptic beliefs, it can also be in reference to a theory of inevitable progress and utopia, such as Marxism

coupure - cut, in French
monad - lots of meanings. About numbers? Possibly the philosopher Leibniz's ideas are relevant; a monad is his metaphysical model for a kind of atom of perspective that has appetite and perception. Whatever that is.
anomie - a kind of melancholy because of a lack of rules or values, but similar to anarchy in that it is active
durée - duration
diachronic [vs. synchronic] - not at the same time, versus at the same time. In philosophy of the mind: an immediate conscious awareness in a short time, like a tenth of a second. Also used in linguistics about how ideas change over time.
putative - "commonly believed to be true on inconclusive grounds" [wiktionary]
sinité - I don't know, either related to sin or a place in Bulgaria. Sinity is a term used in a footnote to Barthes, Myth Today, connected to the word sininess, which is a neologism coined by French occupiers, to describe China and the cultural norms they saw as morally inferior.
hermeneutic - hermeneutics is "the study or theory of the methodical interpretation of text, especially holy texts," so hermeneutic must be the singular?
praxis - "The practical application of any branch of learning." Also, "Custom or established practice"
lumber room - a room where you store excess furniture for later use in a fancy British house
mimesis - a term with a lot of baggage in art criticism. It's about imitating or mimicking. It's an idea in art that usually applies to a kind of realism, or an illusion of the real. Plato and Aristotle contrasted it with diegesis, in drama or writing, which means tell instead of show. Mimesis was once considered a synonym for Art, when you represent nature realistically. In modern art mimesis might mean it was not abstract enough. It's interesting to think that what is popular now is a hybrid, the first person TV narrative, that's both show and tell.
[I put sinité, coupure, anomie, and durée into the altavista.babelfish French to English translator and got, "sinity cut saddle-oyster duration"]


Well, I get the sense that this is a dated document. Isn't that a neat criticism of Post-modernism. Apparently it's written in 1991, not long after I predicted. The bit about "the end of this or that," seems to refer to when history was supposed to have died [in 1989!].

There are a lot of artists' ideas referenced I'm not familiar with: Godard, Heidegger, Macherey, Nam June Paik, Fernard Léger, Antonioni's Blowup, and DePalma's Blowout. On the other hand it's a nice list for interesting stuff to lookup another day.

Lists a bunch of artists that he considers modern, and those that are post modern. I don't agree with his categorisations, and he really doesn't prove that there is a fundamental change or break from the previous era. Warhol and Philip Glass are traditionalists, compared to a lot that is contemporary. I don't think individual style is waning at all. Quite the opposite, this is an individualistic era. Neither are we "liberated from anxiety." Random cannibalisation is old as the moon.

Lot's of people reject the split between modern and post modern nowadays.

He talks about space overcoming time but I don't think that's true. Space certainly is a buzzword these days. And time may have changed, it isn't natural but digital now.

I do think that his definition of simulacrum, the "copy for which no original has ever existed" is more practical than Baudrillard's.

He is right in that history is different as nostalgia and reproduction of historical imagery is consumed.

I like how he says our understanding of meaning is like a sentence: it can become disordered. It's a good metaphor but his point is still wrong. That's not a uniquely postmodern condition.
His observations about schizophrenia are different than what I think the disease actually is, I think he's misusing the word, or being arrogant in drawing supposed medical fact from an anecdote. However he is right that the situation quoted to us could easily be seen in positive terms as a drug enduced fantastic voyage.

The idea of difference. I dunno. blah.

The bit about technology is good. Computers and TVs don't show us their function the way steamengines do. "different demands on our capacity" is a good way to put it. I think he really is on to something when he looks at the unimaginable complexity of "whole [systems of] technology." I've thought about that a lot, in relation to computers. Our interconnectedness may one day [theoretically] allow us all to share ALL of the knowledge that has ever been written, we are all able to be Prometheus and god. But it is totally impossible for any individual to understand, we've outgrown our own comprehension. Even now a microchip is unimaginably complex such that no individual could ever hope to reproduce or represent one accurately.
When he talks about cities it's like he's talking about this great exciting potential topic, urban space and bicycles! [bicycles, bicycles, bicycles... did you notice my email address?] but he doesn't go anywhere with it. Except... He ends with maps. I think maps are a great idea. Borges wrote about the map that covered the entire empire. We need our own maps and to share them and that's empowering. No more imperial maps. let's get post-modern!

What is an Author?

What is an Author? by me, not Michel Foucault
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"Michel Foucaut, where did you go? Are you the author of this thing or not?" Sezzaye.
"I am dead, yet I am immortal. I am the opposite of a genius. What I am doing is hiding from you the conversation and discourse that was happening in the year 1968. I'm impeding free circulation. You will read only what I say and the hidden histories not signified by me will be erased." Sezzee.
Well now that the author is dead, do we really care who wrote it? Yes, the mystery of the victim's identity must be solved. It is a question of law and order!
The author is dead. The reader is dead. Althusser is dead. God is dead? What a bunch of stiffs!
So, the woman was left and she came into the room and looked at the row of four bodies laid out. She peeked under the first blanket that was covering the author's face [the blanket is the sign, signifying the dead of the individual underneath of it].
"So, writing finally got you - in the end - did it?" Sezzuhr...
"You can't keep putting off life, see where your quest for immortality led you?
Never mind that, I'll crack this case. [a safe is obliquely referred to though in reality it is about Police/Detective stereotype 'casework' a.k.a. reliure En français]
So she sat down and invented a computer that would write a book for Everybody and share it with the world, sans authur [en francais].

Foucault is supposed to be radical how he challenges the idea of authorship. He challenges our ideas of name and famousness also. However, I think he doesn't go very far and ought to look at the basic level of materialism, as would a Marxist. Copyright, Trademark and Patents are all very important issues and give legal standing to the ownership of ideas and the authorship of texts. However, he doesn't mention that stuff. He stays away from the real and keeps to the philosophical and less dangerous terrain. His focus is mostly on discourse, but who is he, the author of this text talking to?

I do think the philosophical angle can be interesting too: is it even possible to have an original idea? I think not really. As an artist/creative type I'm often told what I say or produce is original or unique. But, I feel that all of my ideas come from outside of me and how I arrange them is really all that I author. Even that turns out to be a copy sometimes - I realise - after the fact. As a child I composed some music from tunes in my head onto the computer, yet these melodies were easily identified pop music when I recently re-heard them.

The New Keywords text has an interesting write up on the etymology of 'copy.' Copying comes from copious and only in modern times has it meant a diminutive, inauthentic characteristic. Authentic is related to authorship is it not?

But, the non-philosophical issues of copyright and authorship are more interesting to me. Let's have a discourse about things we can act on, not just think about! Truth is revealed in curious circumstances. The Aboriginal issues of private property ownership are quite intriguing. It seems that in Salish traditions from this part of the world land was owned in a fairly public sense by groups but certain songs and names were private individual property. The economy of this ownership was spiritual more than commercial. Still, names were of economic material value in weddings and other ceremony.

If it wasn't for the aboriginal history I would be an anti-copyright zealot because in computers, intellectually private property is unnecessary and divisive. I see the extension of intellectual private property as a modern enclosure movement that threatens to cause loss of freedom and oppression on a scale greater possibly even than the industrial revolution and the land enclosure [fencing off] movement. However, maybe I'm wrong and the aboriginal idea of private songs is a better one.

I'm not too keen on Foucault because he muddles the issue rather than enlightens. I think he makes some great points about challenging authorship but his ideas are behind the rapidly changing realities. I don't think ownership of ideas and restriction or censorship of them is good for society. However, his desire to do away with the individual voice lacks a sense of what people want. I think the Aboriginal private intellectual property was about preserving a distinct identity because it is important. Similarly, modern gender, sex, anti-racist and other movements have fostered a healthy focus on personal identity. It is important for our psychological well being to not feel faceless.

That said, identity can get too individually focused and there certainly is a lot of commercial exploitation of the 'niche' markets.

If it makes no difference who is speaking, why did he write his name to his essay?