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+
+ + + + + + + + + + +[circle the right punctuation ?/!]/ [circle the right punctuation ?/!]

Nina Power

Part 1: [circle the right punctuation ?/!]

“[T]he entire thrust of the LTI The Langue of the Third Reich was towards visualisation[circle the right punctuation ,/.]and if this process of visualizing could be achieved with recourse to Germanic traditions[circle the right punctuation ,/.]by means of a runic sign[circle the right punctuation ,/.]then so much the better[circle the right punctuation ,/.]And as a jagged character the rune of life was related to the SS symbol[circle the right punctuation ,/.]and as an ideological symbol also related to the spokes of the wheel of the sun[circle the right punctuation ,/.]the swastika [circle the right punctuation ;/…]Renan’s position: the question mark – the most important of all punctuation marks[circle the right punctuation ,/.]A position in direct opposition to National Socialist intransigence and self-confidence [circle the right punctuation ;/…]From time to time it is possible to detect[circle the right punctuation ,/.]both amongst individuals and groups[circle the right punctuation ,/.]a characteristic preference for one particular punctuation mark[circle the right punctuation ,/.]Academics love the semicolon; their hankering after logic demands a division which is more emphatic than a comma[circle the right punctuation ,/.]but not quite as absolute a demarcation as a full stop[circle the right punctuation ,/.]Renan the sceptic declares that it is impossible to overuse the question mark[circle the right punctuation ,/.] – Victor Klemperer[circle the right punctuation ,/.]‘Punctuation’ from The Language of the Third Reich[1]


In the era of emojis[circle the right punctuation ,/.]we have forgotten about the politics of punctuation[circle the right punctuation ,/.]Which mark or sign holds sway over us in the age of Twitter[circle the right punctuation ,/.]Facebook[circle the right punctuation ,/.]YouTube comments[circle the right punctuation ,/.]emails[circle the right punctuation ,/.]and text messages[circle the right punctuation ?/!]If we take the tweets of Donald Trump as some kind of symptomatic indicator[circle the right punctuation ,/.]we can see quite well that it is the exclamation mark – [circle the right punctuation ?/!]– that dominates[circle the right punctuation ,/.]A quick look at his tweets from the last 48 hour period shows that almost all of them end with a single declarative sentence or word followed by a ‘[circle the right punctuation ?/!]: ‘Big trade imbalance[circle the right punctuation ?/!][circle the right punctuation ,/.]‘No more[circle the right punctuation ?/!][circle the right punctuation ,/.]‘They’ve gone CRAZY[circle the right punctuation ?/!][circle the right punctuation ,/.]‘Happy National Anthem Day[circle the right punctuation ?/!][circle the right punctuation ,/.]‘REST IN PEACE BILLY GRAHAM[circle the right punctuation ?/!][circle the right punctuation ,/.]‘IF YOU DON’T HAVE STEEL[circle the right punctuation ,/.]YOU DON’T HAVE A COUNTRY[circle the right punctuation ?/!][circle the right punctuation ,/.](we shall leave the matter of all caps for another time)[circle the right punctuation ,/.]‘$800 Billion Trade Deficit-have no choice![circle the right punctuation ,/.]‘Jobless claims at a 49 year low[circle the right punctuation ?/!] and so on [circle the right punctuation ;/…]you get the picture[circle the right punctuation ,/.]Trump’s exclamation mark is the equivalent of a boss slamming his fist down on the table[circle the right punctuation ,/.]an abusive partner shouting at a tentative query[circle the right punctuation ,/.]an exasperated shock jock arguing with an imaginary opponent[circle the right punctuation ,/.]It is the exclamation mark as the final word[circle the right punctuation ,/.]which would not be so frightening if Trump’s final word was not also backed up by nuclear annihilation[circle the right punctuation ,/.]the US army[circle the right punctuation ,/.]the police[circle the right punctuation ,/.]court and prison system[circle the right punctuation ,/.]vast swathes of the US media and electorate[circle the right punctuation ,/.]and multiple people around him too afraid to say ‘no[circle the right punctuation ,/.] This is the exclamation mark as apocalypse[circle the right punctuation ,/.]not the ‘[circle the right punctuation ?/!] of surprise[circle the right punctuation ,/.]amusement[circle the right punctuation ,/.]girlish shyness[circle the right punctuation ,/.]humour[circle the right punctuation ,/.]or ironic puncture[circle the right punctuation ,/.]This is the exclamation of doom[circle the right punctuation ,/.]


The Sturm and Drang needed an unusually large number of exclamation marks[circle the right punctuation ,/.]suggests Klemperer[circle the right punctuation ,/.]and[circle the right punctuation ,/.]though you might suspect the LTI (Lingua Tertii Imperii – the language of the Third Reich as Klemperer calls it) would adore the exclamation mark[circle the right punctuation ,/.]“given its fundamentally rhetorical nature and constant appeal to the emotions,” in actual fact “they are not at all conspicuous” in Nazi writings.[2] Why did the Nazis not need the exclamation mark[circle the right punctuation ?/!]Klemperer states[circle the right punctuation ,/.]“t is as if [the LTI] turns everything into a command or proclamation as a matter of course and therefore has no need of a special punctuation mark to highlight the fact – where after all are the sober utterances against which the proclamation would need to stand out[circle the right punctuation ?/!][3]

This point alone should herald a terrible warning[circle the right punctuation ,/.]“Sober utterances” – from rational debate[circle the right punctuation ,/.]to well-researched news[circle the right punctuation ,/.]to public and open discussion – when these go[circle the right punctuation ,/.]the exclamation marks will go too[circle the right punctuation ,/.]because there will be no opposition left to be falsely outraged against[circle the right punctuation ,/.]There will be no critical press[circle the right punctuation ,/.]no free thought[circle the right punctuation ,/.]no social antagonism[circle the right punctuation ,/.]because anyone who stands against the dominant discourse will disappear[circle the right punctuation ,/.]and perhaps social death will suffice[circle the right punctuation ,/.]rather than murder[circle the right punctuation ,/.]if only because it is easier to do[circle the right punctuation ,/.]When Trump and others attack the media[circle the right punctuation ,/.]it is so that one day their tweets will no longer need the exclamation of opposition[circle the right punctuation ,/.]It is so that all statements from above will be a command or proclamation in a frictionless[circle the right punctuation ,/.]opposition-less universe[circle the right punctuation ,/.]


But we are also tempted by the exclamation mark because it is also a sign[circle the right punctuation ,/.]in some contexts[circle the right punctuation ,/.]of another kind of disbelief[circle the right punctuation ,/.]Not the Trump kind in which he cannot reconcile the fact that others disagree with him (or even that they exist)[circle the right punctuation ,/.]but the kind which simply says ‘oh my goodness[circle the right punctuation ?/!] or ‘that’s great[circle the right punctuation ?/!] or ‘I’m shocked/surprised/happy stunned[circle the right punctuation ?/!] But then we use them all the time and they grow tired and weak…and we use them defensively[circle the right punctuation ,/.]when we say: ‘I’m sorry this email is so late[circle the right punctuation ?/!][circle the right punctuation ,/.]‘I have been so useless lately[circle the right punctuation ?/!][circle the right punctuation ,/.]‘I’m so tired I can hardly see[circle the right punctuation ?/!] and so on[circle the right punctuation ,/.]ad infinitum [circle the right punctuation ;/…](and what of the ellipses[circle the right punctuation ?/!][circle the right punctuation ;/…]another time[circle the right punctuation ,/.]another time).


If you look at the comments to YouTube videos (a sentence to which nothing good is ever likely to be added)[circle the right punctuation ,/.]you will find a particular use of the exclamation mark[circle the right punctuation ,/.]Take[circle the right punctuation ,/.]for example[circle the right punctuation ,/.]the currently number one trending video: ‘Jennifer Lawrence Explains Her Drunk Alter Ego “Gail”’[circle the right punctuation ,/.]where the actress talks to Ellen DeGeneres on the latter’s popular programme ‘The Ellen Show’ about how when she’s on holiday and drinks rum she becomes a masculine[circle the right punctuation ,/.]adrenalin-junkie[circle the right punctuation ,/.]alter-ego ‘Gail’ who jumps into shark-infested waters to amuse her friends[circle the right punctuation ,/.]eats live sea creatures[circle the right punctuation ,/.]and challenges people to arm-wrestling competitions[circle the right punctuation ,/.]Apart from the slight melancholy induced by wondering why Jennifer Lawrence has to split herself into different beings in order to have a break from work[circle the right punctuation ,/.]how does the ‘public’ response to the video tell us anything about the various uses of the exclamation mark[circle the right punctuation ?/!]While many of the comments suggest that Lawrence is the victim of MKUltra mind control[circle the right punctuation ,/.]and a victim of child abuse[circle the right punctuation ,/.]or that she is fake[circle the right punctuation ,/.]some of the comments shed a small[circle the right punctuation ,/.]pitiful[circle the right punctuation ,/.]grey kind of light on the exclamation mark as a kind of pleading into the void – the mark that will never be registered[circle the right punctuation ,/.]because the speaker is speaking primarily to reassure him or herself[circle the right punctuation ,/.]


There is the pleading[circle the right punctuation ,/.]compassionate use: “love how she is so open[circle the right punctuation ?/!]
says Kailey Bashaw[circle the right punctuation ,/.]to which Oliver 2000 responds[circle the right punctuation ,/.]“Yeah I love her porn pictures” with no punctuation at all[circle the right punctuation ,/.]Lauren Robelto writes: “Everybody commenting about alcoholism makes me so sad[circle the right punctuation ,/.]She’s worked very hard and just wants to take a break and have fun and everyone’s criticizes her[circle the right punctuation ,/.]Honestly if I were her I wouldn't be able to stop drinking because of all the hate[circle the right punctuation ?/!]Lighten up people[circle the right punctuation ?/!]JLaw is gonna keep thriving with or without your support![circle the right punctuation ?/!]
A similar kind of plea[circle the right punctuation ,/.]the plea of the fan[circle the right punctuation ,/.]a plea for understanding combined with a passive-aggressive double use of the exclamation mark to signify a kind of double-triumph: the commentator has both convinced themselves and history that leaving negative (or indeed positive) comments on YouTube will in no way affect the reception of whoever they are passionate about.


There is a footnote in Marx’s Capital[circle the right punctuation ,/.]vol[circle the right punctuation ,/.]1 which does something interesting with the relation between the exclamation mark and the question mark[circle the right punctuation ,/.]and I want to insert it here as the perfect dialectical extract for moving from the exclamation mark to the question mark[circle the right punctuation ,/.]Here Marx is quoting Wilhelm Roscher writing about J[circle the right punctuation ,/.]B[circle the right punctuation ,/.]Say[circle the right punctuation ,/.]the liberal economist famous for arguing that production creates its own demand[circle the right punctuation ,/.]All the comments in parentheses are Marx’s own: “‘Ricardo’s school is in the habit of including capital as accumulated labour under the heading of labour[circle the right punctuation ,/.]This is unskillful ([circle the right punctuation ?/!][circle the right punctuation ,/.]because ([circle the right punctuation ?/!] indeed the owner of capital ([circle the right punctuation ?/!] has after all ([circle the right punctuation ?/!] done more than merely (![circle the right punctuation ?/!] create ([circle the right punctuation ?/!] and preserve (?[circle the right punctuation ?/!] the same (what same[circle the right punctuation ?/!]: namely (?![circle the right punctuation ?/!] the abstention from the enjoyment of it[circle the right punctuation ,/.]in return for which he demands[circle the right punctuation ,/.]for instance (!![circle the right punctuation ?/!] interest[circle the right punctuation ,/.] How very ‘skilful’ is this ‘anatomico-physiological method’ of political economy[circle the right punctuation ,/.]which converts a mere ‘demand’ into a source of value[circle the right punctuation ?/!]
[4]


Marx was famously brutal and scabrous in his take-downs[circle the right punctuation ,/.]devoting hundreds of pages to figures that are now barely remembered[circle the right punctuation ,/.]or remembered largely because Marx took them down[circle the right punctuation ,/.]But here our interest lies in the use of ‘[circle the right punctuation ?/!] and ‘[circle the right punctuation ?/!] and ‘![circle the right punctuation ?/!] and ‘?[circle the right punctuation ?/!] and ‘?![circle the right punctuation ?/!] and ‘!![circle the right punctuation ?/!][circle the right punctuation ,/.]What is Marx signalling here[circle the right punctuation ?/!]Disbelief in idiocy[circle the right punctuation ,/.]incomprehension[circle the right punctuation ,/.]mockery[circle the right punctuation ,/.]but also perhaps a curious hope[circle the right punctuation ,/.]Hope[circle the right punctuation ?/!]Hope in a better analysis[circle the right punctuation ,/.]one worthier of the world[circle the right punctuation ,/.]one that will explain rather than mystify…





Part 2: [circle the right punctuation ?/!]

Are we today in need of more question marks[circle the right punctuation ?/!]Klemperer describes[circle the right punctuation ,/.]as above[circle the right punctuation ,/.]the question mark as being “in direct opposition to National Socialist intransigence and self-confidence[circle the right punctuation ,/.][5] The question mark is itself a question[circle the right punctuation ,/.]a kind of collapsed exclamation mark[circle the right punctuation ,/.]A question mark can be an act of aggression or interruption: ‘oh really[circle the right punctuation ?/!] But it can also function as a kind of pause[circle the right punctuation ,/.]a break in the horrible flow[circle the right punctuation ,/.]the babble[circle the right punctuation ,/.]the endless lies[circle the right punctuation ,/.]The question mark is the person who says ‘hang on[circle the right punctuation ,/.]what is being said here[circle the right punctuation ?/!][circle the right punctuation ,/.]‘what is happening[circle the right punctuation ?/!][circle the right punctuation ,/.]‘is this okay[circle the right punctuation ?/!] It is the question of the body that stands against the crowd[circle the right punctuation ,/.]head bowed[circle the right punctuation ,/.]frightened[circle the right punctuation ,/.]but compelled by an inner question of their own – ‘is this the right thing[circle the right punctuation ,/.]what they are saying[circle the right punctuation ?/!] It is the feeling and the admission that one doesn’t know[circle the right punctuation ,/.]and the intuition that there might not be a simple answer to the situation[circle the right punctuation ,/.]We are surrounded by people who want to give us their solutions[circle the right punctuation ,/.]who tell us how things work[circle the right punctuation ,/.]what we should think[circle the right punctuation ,/.]how we should be[circle the right punctuation ,/.]how we should behave[circle the right punctuation ,/.]There are too few Socratic beings[circle the right punctuation ,/.]and far too many self-promoters[circle the right punctuation ,/.]charlatans[circle the right punctuation ,/.]snake-oil salesmen[circle the right punctuation ,/.]liars[circle the right punctuation ,/.]confidence tricksters[circle the right punctuation ,/.]We want to be nice[circle the right punctuation ,/.]but we end up getting played[circle the right punctuation ,/.]Anyone who claims to have ‘the full picture’ is someone who wants an image of the world to dominate you so you shut up or give them something they want[circle the right punctuation ,/.]They are not your friends.


How to understand the question mark as a symbol[circle the right punctuation ,/.]then[circle the right punctuation ,/.]of trust[circle the right punctuation ?/!]There must be room for exploration[circle the right punctuation ,/.]of a mutual[circle the right punctuation ,/.]tentative openness[circle the right punctuation ,/.]A place where it is possible to say ‘I don’t know’ and not feel ashamed or ignorant[circle the right punctuation ,/.]or foolish[circle the right punctuation ,/.]or unkind[circle the right punctuation ,/.]The internet is so often a place where people are shunned and shamed for asking questions[circle the right punctuation ,/.]as if ignorance wasn’t a condition for knowledge[circle the right punctuation ,/.]and as if we never wanted anyone to go beyond the things everybody already understands[circle the right punctuation ,/.]Sometimes ‘ignorance’ is in fact the greatest kind of intelligence[circle the right punctuation ,/.]and sometimes it is the most noble political strategy[circle the right punctuation ,/.]Philosophy and psychoanalysis tells us that[circle the right punctuation ,/.]in any case[circle the right punctuation ,/.]we in fact know less than we think we do know[circle the right punctuation ,/.]Knowledge and understanding are not transparent processes: we bury and forget[circle the right punctuation ,/.]we lose the ability to ask questions of ourselves[circle the right punctuation ,/.]and we when we think we understand ourselves this is when we dismiss others[circle the right punctuation ,/.]We want to think that we are solely good[circle the right punctuation ,/.]that we have the ‘right position,’ and that the others are wrong[circle the right punctuation ,/.]But if we give up on our inner question mark[circle the right punctuation ,/.]we become rigid[circle the right punctuation ,/.]like the exclamation mark of condemnation[circle the right punctuation ,/.]We forget that other people think differently and that not everyone must think the same thing[circle the right punctuation ,/.]We forget about friendship[circle the right punctuation ,/.]flexibility[circle the right punctuation ,/.]and forgiveness[circle the right punctuation ,/.]


If we do not give ourselves enough time to think about the politics of punctuation[circle the right punctuation ,/.]we run the risk of being swept away on a wave of someone else’s desire[circle the right punctuation ,/.]We become passive pawns and stooges[circle the right punctuation ,/.]We become victims of the malign desires of others to silence us[circle the right punctuation ,/.]to put us down[circle the right punctuation ,/.]to make us terrified and confused[circle the right punctuation ,/.]Punctuation is not merely linguistic[circle the right punctuation ,/.]but imagistic and political through and through[circle the right punctuation ,/.]The [circle the right punctuation ?/!]and the [circle the right punctuation ?/!]are signs among other signs[circle the right punctuation ,/.]but their relation and their power course through us when we are least aware of it[circle the right punctuation ,/.]When we are face to face[circle the right punctuation ,/.]we can use our expressions[circle the right punctuation ,/.]our body as a whole[circle the right punctuation ,/.]to dramatize these marks[circle the right punctuation ,/.]with a raised eyebrow[circle the right punctuation ,/.]a gesture[circle the right punctuation ,/.]a shrug – a complex combination of the two marks can appear in and about us[circle the right punctuation ,/.]But we are apart much of the time[circle the right punctuation ,/.]and we must rely on markers that do not capture our collective understanding[circle the right punctuation ,/.]We must be in a mode of play with the words and the punctuation we use[circle the right punctuation ,/.]to keep a certain openness[circle the right punctuation ,/.]a certain humour: not the cruelty of online life or the declarations of the powerful[circle the right punctuation ,/.]but the delicate humour that includes the recognition that jokes are always aggressive[circle the right punctuation ,/.]and that we live permanently on the edge of violence[circle the right punctuation ,/.]but that we must be able to play if we are able to understand our drives[circle the right punctuation ,/.]and[circle the right punctuation ,/.]at the same time[circle the right punctuation ,/.]the possibility of living together differently[circle the right punctuation ,/.]




Footnotes
1[circle the right punctuation ,/.]Klemperer[circle the right punctuation ,/.]Victor[circle the right punctuation ,/.]Language of the Third Reich: LTI: Lingua Tertii Imperii[circle the right punctuation ,/.]Translated by Martin Brady[circle the right punctuation ,/.]New York: Bloomsbury Academic[circle the right punctuation ,/.]2013.
2[circle the right punctuation ,/.]Ibid[circle the right punctuation ,/.]67.
3[circle the right punctuation ,/.]Ibid[circle the right punctuation ,/.]67.
4[circle the right punctuation ,/.]Marx[circle the right punctuation ,/.]Karl[circle the right punctuation ,/.][i]Capital[circle the right punctuation ,/.]Volume 1: A Critique of Political Economy.[i] New York: International Publishers[circle the right punctuation ,/.]1977[circle the right punctuation ,/.]82.
5[circle the right punctuation ,/.]Klemperer[circle the right punctuation ,/.]Victor[circle the right punctuation ,/.][i]Language of the Third Reich: LTI: Lingua Tertii Imperii[i][circle the right punctuation ,/.]74.

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+!???!?!?!??!!?!?!?!?!?!?!?!?!!???!!!!?!!?!!????!?!!!?!!?!!??!!!??!???!???!!!?!!?!??!!?!??!!!??!!!??!
+!????!!?!?!!!!???!?!!?!?!!??!!?!!!?!!???!!???!!???!!!!!??!!?!!!??????!!!!?!!?!?!!!!?!??!!???!??!!!!!
+?!!!?!?!?!?!?!??!???????!?!!!??!!!!!???!!!!?!!!!!??!??????!????!!!!?????!!??!!!!?!?!????!?!?!?!!!!?!
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+????????!?!!?!?!!?!!!!?!!!?!??!!?!??!?!?!?!?!??!!?!??!???!?!!??!?!!?!?!???!!???!!!!!?!??!??!??!?!??!
+!??????!!!?!?!!!!???!??!!!!!?!?!!?!???!?!?!!?!?!??!????!!??!??!!!?????!!?!?!?!??!??!??!?!?!???!!!??!
+!??!!?!?!?!??!?????!!!?!????!!!!!?!!??!!!!!!!?!!!!!!!!???!!!!!?!!?????!!?!!??????!!?!?????!!!!!!!!?!
+?!?!!!??!!!?!?!???!!!!?!!?!?!?!??!!!!??!!!???!!?!?!?!?!?!!????!???!??!!!!??!!!?!!!!!????!?!??!?!?!??
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+?!?!?!!??!??!!?!???????!!!???????!??!?!!!?!?!??!?!???!??!!???!!??!??!!?!!!?!?!???????!??!??!!??????!
+?!???!??!?!??!!!???!!!??!??!?!????!?!!??!!!??????!!?!!!?!!!??!?!!??!!?!!!!?!?!!!?!???!??????!!!!!?!!
+!!!??!?!??!!!!???!??!?!?!!?!!!??!!!?!!!?!!??!!????!???!!??!???!?!????!!?!?!??!!!!?!!?!??!!?!?!?!?!!!
+??!!?????!?!?!?!!?!!??!??!???!!!?!!?!!???!!?!????!!??!??!?!?!!!?!?!?!!?!?!!???!!??!?!??!?!?!!!!!!?!?
+??!???????!!!??!?!???!???!?!?!???!!!?!?!?!!?!!!!?!!??!!????!!?!!!???!??!!!???!!????!!!??!??!!!????!!
+!!!??!!?!?!??????!??!??!?????!???????!!!?!?!!!!??!!!??!!!??!!??????!!?!!!!???!!?!!??!!!???!!!?!!??!?
+!?!?!!!???!!?!???!!!??!?!?!!????!!??!??!?????!!?!?!!!?!?!?!!???!??!!!!??!!!???!?!!!?!!?????!!???!!??
+???!?!??!??!??!?!?!???????!!!!!??!??!?!?!!!?!?!??!?!!?!???!!!!!!????!???!!?!!!!!?!!?!!????!??!?!???!
+?!!??!!!!?!!!???????!!??!?!!!??!?!???!??????!?!!?!!!!!?!?!?!?!!!!?!???!!??!?!!!!?!?!!????!!?!?!?!!!?
+?!?!??!?!!?!!?!????!?!!!!??!!??!!!??!?!!??!!!!!???!!?!?!!?!?!?!!?!??!!!?!?????!?!!!??!?!?!?!??!!!??!
+??!!!!?!!!!!?!!!!?!!!??!?!!?!??!?!????!???!!?!!!??????!!!?!??!?!!!?!??!!!!!???!???!!!???!??????!?!??
+!?!!!!!!!!??!???!?!???!!???!!!!???!!?!????!??!!????!????!?!??!!?????!???!!??!?!!????!??!?!?!!!!??!!!
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+!?!!!?????!??!!???!?!?!??!??!??????!!?!!!!!!!?!!??!!!???!???!!!!!!??!?!??!!?!!??????!???!!!!!??!??!?
+??!?!?!??!?!!!?!???!!??!?!!?!!???!???!!?!!????!!???!!????!!!????!!!?????!??!?!?!?????!!!?!?!!???!!!!
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!? / ?!

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Part 1: !?

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“[T]he entire thrust of the LTI The Langue of the Third Reich was towards visualisation, and if this process of visualizing could be achieved with recourse to Germanic traditions, by means of a runic sign, then so much the better. And as a jagged character the rune of life was related to the SS symbol, and as an ideological symbol also related to the spokes of the wheel of the sun,

the swastica 
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… Renan’s position: the question mark – the most important of all punctuation marks. A position in direct opposition to National Socialist intransigence and self-confidence … From time to time it is possible to detect, both amongst individuals and groups, a characteristic preference for one particular punctuation mark. Academics love the semicolon; their hankering after logic demands a division which is more emphatic than a comma, but not quite as absolute a demarcation as a full stop. Renan the sceptic declares that it is impossible to overuse the question mark.” – Victor Klemperer, ‘Punctuation’ from The Language of the Third Reich.[1]

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In the era of 😡emojis, we have forgotten about the politics of !?.,punctuation. Which mark or sign holds sway over us in the age of Twitter, Facebook, YouTube comments, emails, and text messages?! If we take the tweets of 🍊Donald Trump as some kind of symptomatic indicator, we can see quite well that it is the exclamation mark – !? – that dominates. A quick look at his tweets from the last 48 hour period shows that almost all of them end with a single declarative sentence or word followed by a ‘!?’: ‘Big trade imbalance!?’, ‘No more!?’, ‘They’ve gone CRAZY!?’, ‘Happy National Anthem Day!?’, ‘REST IN PEACE BILLY GRAHAM!?’, ‘IF YOU DON’T HAVE STEEL, YOU DON’T HAVE A COUNTRY!?’, (we shall leave the matter of all caps for another time), ‘$800 Billion Trade Deficit-have no choice!?, ‘Jobless claims at a 49 year low!?’ and so on … you get the picture. Trump’s exclamation mark is the equivalent of a boss slamming his fist down on the table, an abusive partner shouting at a tentative query, an exasperated shock jock arguing with an imaginary opponent. It is the exclamation mark as the final word, which would not be so frightening if Trump’s final word was not also backed up by nuclear annihilation, the US army, the police, court and prison system, vast swathes of the US media and electorate, and multiple people around him too afraid to say ‘no.’ This is the exclamation mark as apocalypse, not the ‘!?’ of surprise, amusement, girlish shyness, humour, or ironic puncture. This is the exclamation of doom.

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The Sturm and Drang needed an unusually large number of exclamation marks, suggests Klemperer, and, though you might suspect the LTI (Lingua Tertii Imperii – the language of the Third Reich as Klemperer calls it) would adore the exclamation mark, “given its fundamentally rhetorical nature and constant appeal to the emotions,” in actual fact “they are not at all conspicuous” in Nazi writings.[2] Why did the Nazis not need the exclamation mark?! Klemperer states, “t is as if [the LTI] turns everything into a command or proclamation as a matter of course and therefore has no need of a special punctuation mark to highlight the fact – where after all are the sober utterances against which the proclamation would need to stand out?!”[3]

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This point alone should herald a terrible warning. “Sober utterances” – from rational debate, to well-researched news, to public and open discussion – when these go, the exclamation marks will go too, because there will be no opposition left to be falsely outraged against. There will be no critical press, no free thought, no social antagonism, because anyone who stands against the dominant discourse will disappear, and perhaps social death will suffice, rather than murder, if only because it is easier to do. When Trump and others attack the media, it is so that one day their tweets will no longer need the exclamation of opposition. It is so that all statements from above will be a command or proclamation in a frictionless, opposition-less universe.

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But we are also tempted by the exclamation mark because it is also a sign, in some contexts, of another kind of disbelief. Not the Trump kind in which he cannot reconcile the fact that others disagree with him (or even that they exist), but the kind which simply says ‘oh my goodness!?’ or ‘that’s great!?’ or ‘I’m shocked/surprised/happy stunned!?’ But then we use them all the time and they grow tired and weak…and we use them defensively, when we say: ‘I’m sorry this email is so late!?’, ‘I have been so useless lately!?’, ‘I’m so tired I can hardly see!?’ and so on, ad infinitum … (and what of the ellipses?! … another time, another time).

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If you look at the comments to YouTube videos (a sentence to which nothing good is ever likely to be added), you will find a particular use of the exclamation mark. Take, for example, the currently number one trending video: ‘Jennifer Lawrence Explains Her Drunk Alter Ego “Gail”’, where the actress talks to Ellen DeGeneres on the latter’s popular programme ‘The Ellen Show’ about how when she’s on holiday and drinks rum she becomes a masculine, adrenalin-junkie, alter-ego ‘Gail’ who jumps into shark-infested waters to amuse her friends, eats live sea creatures, and challenges people to arm-wrestling competitions. Apart from the slight melancholy induced by wondering why Jennifer Lawrence has to split herself into different beings in order to have a break from work, how does the ‘public’ response to the video tell us anything about the various uses of the exclamation mark?! While many of the comments suggest that Lawrence is the victim of MKUltra mind control, and a victim of child abuse, or that she is fake, some of the comments shed a small, pitiful, grey kind of light on the exclamation mark as a kind of pleading into the void – the mark that will never be registered, because the speaker is speaking primarily to reassure him or herself.

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There is the pleading, compassionate use: “love how she is so open!?” says Kailey Bashaw, to which Oliver 2000 responds, “Yeah I love her porn pictures” with no punctuation at all. Lauren Robelto writes: “Everybody commenting about alcoholism makes me so sad. She’s worked very hard and just wants to take a break and have fun and everyone’s criticizes her. Honestly if I were her I wouldn't be able to stop drinking because of all the hate!? Lighten up people!? JLaw is gonna keep thriving with or without your support!!” A similar kind of plea, the plea of the fan, a plea for understanding combined with a passive-aggressive double use of the exclamation mark to signify a kind of double-triumph: the commentator has both convinced themselves and history that leaving negative (or indeed positive) comments on YouTube will in no way affect the reception of whoever they are passionate about.

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There is a footnote in Marx’s Capital, vol. 1 which does something interesting with the relation between the exclamation mark and the question mark, and I want to insert it here as the perfect dialectical extract for moving from the exclamation mark to the question mark. Here Marx is quoting Wilhelm Roscher writing about J. B. Say, the liberal economist famous for arguing that production creates its own demand. All the comments in parentheses are Marx’s own: “‘Ricardo’s school is in the habit of including capital as accumulated labour under the heading of labour. This is unskillful (!?), because (!?) indeed the owner of capital (!?) has after all (!?) done more than merely (!?) create (?) and preserve (??) the same (what same?): namely (?!?) the abstention from the enjoyment of it, in return for which he demands, for instance (!!!) interest.’ How very ‘skilful’ is this ‘anatomico-physiological method’ of political economy, which converts a mere ‘demand’ into a source of value!?”[4]

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Marx was famously brutal and scabrous in his take-downs, devoting hundreds of pages to figures that are now barely remembered, or remembered largely because Marx took them down. But here our interest lies in the use of ‘!?’ and ‘?!’ and ‘!?’ and ‘??’ and ‘?!?’ and ‘!!!’. What is Marx signalling here?! Disbelief in idiocy, incomprehension, mockery, but also perhaps a curious hope. Hope?! Hope in a better analysis, one worthier of the world, one that will explain rather than mystify…

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Part 2: ?!

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Are we today in need of more question marks?! Klemperer describes, as above, the question mark as being “in direct opposition to National Socialist intransigence and self-confidence.”[5] The question mark is itself a question, a kind of collapsed exclamation mark. A question mark can be an act of aggression or interruption: ‘oh really?!’ But it can also function as a kind of pause, a break in the horrible flow, the babble, the endless lies. The question mark is the person who says ‘hang on, what is being said here?!’, ‘what is happening?!’, ‘is this okay?!’ It is the question of the body that stands against the crowd, head bowed, frightened, but compelled by an inner question of their own – ‘is this the right thing, what they are saying?!’ It is the feeling and the admission that one doesn’t know, and the intuition that there might not be a simple answer to the situation. We are surrounded by people who want to give us their solutions, who tell us how things work, what we should think, how we should be, how we should behave. There are too few Socratic beings, and far too many self-promoters, charlatans, snake-oil salesmen, liars, confidence tricksters. We want to be nice, but we end up getting played. Anyone who claims to have ‘the full picture’ is someone who wants an image of the world to dominate you so you shut up or give them something they want. They are not your friends.

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How to understand the question mark as a symbol, then, of trust?! There must be room for exploration, of a mutual, tentative openness. A place where it is possible to say ‘I don’t know’ and not feel ashamed or ignorant, or foolish, or unkind. The internet is so often a place where people are shunned and shamed for asking questions, as if ignorance wasn’t a condition for knowledge, and as if we never wanted anyone to go beyond the things everybody already understands. Sometimes ‘ignorance’ is in fact the greatest kind of intelligence, and sometimes it is the most noble political strategy. Philosophy and psychoanalysis tells us that, in any case, we in fact know less than we think we do know. Knowledge and understanding are not transparent processes: we bury and forget, we lose the ability to ask questions of ourselves, and we when we think we understand ourselves this is when we dismiss others. We want to think that we are solely good, that we have the ‘right position,’ and that the others are wrong. But if we give up on our inner question mark, we become rigid, like the exclamation mark of condemnation. We forget that other people think differently and that not everyone must think the same thing. We forget about friendship, flexibility, and forgiveness.

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If we do not give ourselves enough time to think about the politics of punctuation, we run the risk of being swept away on a wave of someone else’s desire. We become passive pawns and stooges. We become victims of the malign desires of others to silence us, to put us down, to make us terrified and confused. Punctuation is not merely linguistic, but imagistic and political through and through. The !? and the ?! are signs among other signs, but their relation and their power course through us when we are least aware of it. When we are face to face, we can use our expressions, our body as a whole, to dramatize these marks, with a raised eyebrow, a gesture, a shrug – a complex combination of the two marks can appear in and about us. But we are apart much of the time, and we must rely on markers that do not capture our collective understanding. We must be in a mode of play with the words and the punctuation we use, to keep a certain openness, a certain humour: not the cruelty of online life or the declarations of the powerful, but the delicate humour that includes the recognition that jokes are always aggressive, and that we live permanently on the edge of violence, but that we must be able to play if we are able to understand our drives, and, at the same time, the possibility of living together differently.

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1. Klemperer, Victor. Language of the Third Reich: LTI: Lingua Tertii Imperii. Translated by Martin Brady. New York: Bloomsbury Academic, 2013. +2. Ibid. 67. +3. Ibid. 67. +4. Marx, Karl. [i]Capital, Volume 1: A Critique of Political Economy.[i] New York: International Publishers, 1977. 82. + 5. Klemperer, Victor. [i]Language of the Third Reich: LTI: Lingua Tertii Imperii[i]. 74.

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PunctuationA special symbol that you add to writing is not merely linguistic, but imaginistic and political. It creates conflicts and misunderstandings. From its presence in Philosophical texts to Trump tweets punctuation alters wor(l)ds. You’re invited to alter the punctuation in this text and see for yourself how it affects your understanding and perception.

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! / ?

+ Nina Power(original text) +
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Part 1: !?

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“The entire thrust of the LTI The LanguageP of the Third Reich was towards visualisation, and if this process of visualizing could be achieved with recourse to Germanic traditions, by means of a runic sign, then so much the better.O And as a jagged character the rune of life was related to the SS symbol, and as an ideological symbol also related to the spokes of the wheel of the ☀️sun, the swastika … 🧐Renan's position: the question mark – the most important of all punctuation marks. A position in direct opposition to National Socialist intransigence and self-confidence … From time to time it is possible to detect, both amongst individuals and groups, a characteristic preference for one particular punctuation mark. Academics love the semicolon; their hankering after logic demands a division which is more emphatic than a comma, but not quite as absolute a demarcation as a full stop. 🧐Renan's the sceptic declares that it is impossible to overuse the question mark.” – 👴🏻Victor Klemperer, ‘Punctuation’ from The Language of the Third Reich.Klemperer, Victor. Language of the Third Reich: LTI: Lingua Tertii Imperii. Translated by Martin Brady. New York: Bloomsbury Academic, 2013.

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🍊Donald Trump
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U.S flag
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In the era of 😡emojis, we have forgotten about the politicsE of punctuation. Which mark or sign holds sway over us in the age of Twitter, Facebook, YouTube 🤬comments, emails, and text messages?! If we take the tweets of 🍊Donald Trump as some kind of symptomatic indicator, we can see quite well that it is the exclamation mark – !? – that dominatesU. A quick look at his tweets from the last 48 hour period shows that almost all of them end with a single declarativeU sentence or word followed by a ‘!?’: ‘Big trade imbalance!?’, ‘No more!?’, ‘They’ve gone CRAZY!?’, ‘Happy National Anthem Day!?’, ‘⚰️REST IN PEACE BILLY GRAHAM!?’, ‘IF YOU DON’T HAVE STEEL, YOU DON’T HAVE A COUNTRY!?’, (we shall leave the matter of all caps for another time), ‘$800 Billion Trade Deficit-have no choice!?, ‘Jobless claims at a 49 year low!?’ and so on … you get the picture. 🍊Trump's exclamation mark is the equivalent of a boss slamming his fist down on the table, an abusive partner shouting at a tentative query, an exasperated shock jock arguing with an imaginary opponent. It is the exclamation mark as the final word, which would not be so frightening if 🍊Trump's final word was not also backed up by 🤯nuclear annihilation, the US army, the 🚓police, court and prison system, vast swathes of the US media and electorate, and multiple people around him too afraid to say ‘no.’ This is the exclamation mark as apocalypse, not the ‘!?’ of 😮surprise, 😂amusement, 🤭girlish shyness, 🤡humour, or ironic puncture. This is the exclamation of doom.

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The Language of the Third Reich by V. Klemperer
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The Sturm and Drang needed an unusually large number of exclamation marks, suggests 👴🏻Klemperer, and, though you might suspect the LTI (Lingua Tertii Imperii – the language of the Third Reich as 👴🏻Klemperer calls it) would adore the exclamation mark, “given its fundamentally rhetorical nature and constant appeal to the emotions,” in actual fact “they are not at all conspicuous” in Nazi writings.Klemperer, Victor. Language of the Third Reich: LTI: Lingua Tertii Imperii. Translated by Martin Brady. New York: Bloomsbury Academic, 2013. Why did the Nazis not need the exclamation mark?! 👴🏻Klemperer states, “t is as if [the LTI] turns everything into a command or proclamation as a matter of course and therefore has no need of a special punctuation mark to highlight the fact – where after all are the sober utterances against which the proclamation would need to stand out?!Klemperer, Victor. Language of the Third Reich: LTI: Lingua Tertii Imperii. Translated by Martin Brady. New York: Bloomsbury Academic, 2013.

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This point alone should herald a terrible ⚠️warning. “Sober utterances” – from rational debate, to well-researched news, to public and open discussion – when these go, the exclamation marks will go too, because there will be no oppositionH left to be falsely outraged against. There will be no critical press, no free thought, no social antagonism, because anyone who stands against the dominant discourse U will disappear, and perhaps social ☠️death will suffice, rather than 🔪murder, if only because it is easier to do. When 🍊Trump and others attack the media, it is so that one day their tweets will no longer need the exclamation of opposition.H It is so that all statements from above will be a command or proclamation in a frictionless, opposition-less universe.

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But we are also tempted by the exclamation mark because it is also a sign, in some contexts, of another kind of 😤disbelief. Not the 🍊Trump kind in which he cannot reconcile the fact that others disagree with him (or even that they exist), but the kind which simply says ‘oh my goodness!?’ or ‘that’s great!?’ or ‘I’m 😱shocked/😮surprised/😃happy/😶stunned!?’ But then we use them all the time and they grow tired and weak…and we use them defensively, when we say: ‘I’m sorry this emailemail is so late!?’, ‘I have been so useless lately!?’, ‘I’m so tired I can hardly see!?’ and so on, ad infinitum … (and what of the ellipses? … another time, another time).

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👱🏻Ellen DeGeneres
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If you look at the 🤬comments to ▶️YouTube videos (a sentence to which nothing good is ever likely to be added), you will find a particular use of the exclamation mark. Take, for example, the currently number one trending video: ‘Jennifer Lawrence Explains Her Drunk Alter Ego “Gail”’, where the actress talks to 👱🏻Ellen on the latter’s popular programme ‘The 👱🏻Ellen Show’ about how when she’s on holiday and drinks 🍹rum she becomes a masculine, 🪂adrenaline-junkie, alter-ego ‘Gail’ who jumps into shark-infested waters to amuse her friends, eats live sea creatures, and challenges people to 💪arm-wrestling competitions. Apart from the slight melancholy induced by wondering why Jennifer Lawrence has to split herself into different beings in order to have a break from work, how does the ‘public’ response to the video tell us anything about the various uses of the exclamation mark?! While many of the 🤬comments suggest that Lawrence is the victim of MKUltra 🧠mind control, and a victim of child abuse, or that she is fake, some of the 🤬comments shed a small, pitiful, grey kind of light on the exclamation mark as a kind of pleading into the void – the mark that will never be registered, because the speaker is speaking primarily to reassure him or herself.

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There is the pleading, compassionate use: “love how she is so open!?” says Kailey Bashaw, to which Oliver 2000 responds, “Yeah I love her 🔞porn pictures” with no punctuation at all. 🧑🏻Lauren Robelto writes: “Everybody 🤬commenting about alcoholism makes me so sad. She’s worked very hard and just wants to take a break and have fun and everyone’s criticizes her. Honestly if I were her I wouldn't be able to stop drinking because of all the hate!? Lighten up people!? JLaw is gonna keep thriving with or without your support!!??” A similar kind of 🙏plea, the 🙏plea of the fan, a 🙏plea for understanding combined with a passive-aggressive double use of the exclamation mark to signify a kind of double-triumph: the commentator has both convinced themselves and history that leaving negative (or indeed positive) 🤬comments on ▶️YouTube will in no way affect the reception of whoever they are passionate about.

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🎅🏻Karl Marx
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There is a footnote in 🎅🏻Marx’s Capital, vol. 1 which does something interesting with the relation between the exclamation mark and the question mark, and I want to insert it here as the perfect dialectical extract for moving from the exclamation mark to the question mark. Here 🎅🏻Marx is quoting Wilhelm Roscher writing about J. B. Say, the liberal economist famous for arguing that production creates its own demand. All the 🤬comments in parentheses are 🎅🏻Marx’s own: “‘Ricardo’s school is in the habit of including capital as accumulated labour under the heading of labour. This is unskillful (!), because (!) indeed the owner of capital (!) has after all (!) done more than merely (!?) create (?) and preserve (??) the same (what same?): namely (?!?) the abstention from the enjoyment of it, in return for which he demands, for instance (!!!) interest.’ How very ‘skilful’ is this ‘anatomico-physiological method’ of political economy, which converts a mere ‘demand’ into a source of value!?Marx, Karl. Capital, Volume 1: A Critique of Political Economy. New York: International Publishers, 1977. 82.

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🎅🏻Marx was famously brutal and scabrous in his take-downs, devoting 📕📗📘📙hundreds of pages to figures that are now barely remembered, or remembered largely because 🎅🏻Marx took them down. But here our interest lies in the use of ‘!?’ and ‘?!!?’ and ‘!??!’ and ‘!!??’ and ‘?!?!?!’ and ‘!!!???’. What is 🎅🏻Marx signalling here?! Disbelief in idiocy, incomprehension, mockery, but also perhaps a curious hope. Hope?! Hope in a better analysis, one worthier of the world, one that will explain rather than mystify…

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Part 2: ?!

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Are we today in need of more question mark?! 👴🏻Klemperer describes, as above, the question mark as being “in direct opposition to National Socialist intransigence and self-confidence.”Klemperer, Victor. Language of the Third Reich: LTI: Lingua Tertii Imperii. 74. The question mark is itself a question, a kind of collapsed exclamation mark. A question mark can be an act of aggression or interruption: ‘oh really?!’ But it can also function as a kind of pause, a break in the horrible flow,L the babble, the endless lies. The question mark is the person who says ‘hang on, what is being said here?!’, ‘what is happening?!’, ‘is this okay?!’ It is the question of the body that stands against the crowd, head bowed, frightened, but compelled by an inner question of their own – ‘is this the right thing, what they are saying?!’ It is the feeling and the admission that one doesn’t know, and the intuition that there might not be a simple answer to the situation. We are surrounded by people who want to give us their 📝solutions, who tell us how things work, what we should think, how we should be, how we should behave. There are too few Socratic beings, and far too many 👍self-promoters, 🤓charlatans, 🐍snake-oil salesmen, 🤥liars, confidence 🧙tricksters. We want to be nice, but we end up getting played. Anyone who claims to have ‘the full picture’ is someone who wants an image of the world to dominate U you so you shut up or give them something they want. They are not your friends.

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Artistic response of the text by Michiel Vandevelde
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How to understand the question mark as a symbol, then, of trust?! There must be room for exploration, of a mutual, tentative openness.A A place where it is possible to say ‘I don’t know’ and not feel 😳ashamed or 🙃ignorant, or 🤡foolish, or 🤬unkind. The internet is so often a place where people are shunned and shamed for asking questions, as if ignorance wasn’t a condition for knowledge, and as if we never wanted anyone to go beyond the things everybody already understands. Sometimes ‘🙃ignorance’ is in fact the greatest kind of 🧠intelligence, and sometimes it is the most noble political strategy.E Philosophy and psychoanalysis tells us that, in any case, we in fact know less than we think we do know. Knowledge and understanding are not transparent processes: we bury and forget, we lose the ability to ask questions of ourselves, and we when we think we understand ourselves this is when we dismiss others. We want to think that we are solely good, that we have the ‘right position,’ and that the others are wrong. But if we give up on our inner question mark, we become rigid, like the exclamation mark of condemnation. We forget that other people think differentlyU and that not everyone must think the same thing. We forget about friendship, flexibility, and forgiveness.

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If we do not give ourselves enough time to think about the politicsH of punctuation, we run the risk of being swept away on a 🌊wave of someone else’s desire.T We become passive pawns and stooges. We become victims of the malign desires of others to silence us, to put us down, to make us terrified and confused. Punctuation is not merely linguistic, but imagistic and politicalP through and through. The !? and the ?! are signs among other signs, but their relation and their power course through us when we are least aware of it. When we are face to face, we can use our expressions, our 🧍body as a whole, to dramatize these marks, with a raised eyebrow, a 👋gesture, a shrug – a complex combination of the two marks can appear in and about us. But we are apart much of the time, and we must rely on markers that do not capture our collective understanding. We must be in a mode of play with the words and the punctuation we use, to keep a certain openness, a certain 🤡humour: not the cruelty of online life or the declarationsU of the 💪powerful, but the delicate 🤡humour that includes the recognition that jokes are always 🤬aggressive, and that we live permanently on the edge of 🔪violence, but that we must be able to play if we are able to understand our 🚗drives, and, at the same time, the possibility of living together differently.U

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reinterpreted by Clara Gradel

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CTRL(⌘)+ P to print the A3 cover (W.I.P)
+ Please use Chromium Open Source browser and set to Horizontal A3

+A3 Cover PDF(here)

+ + + + Thank you!
+ + + +
WOR(L)DS
FOR THE FUTURE

+
A Republishing Tool Kit for an Imaginary Atlas
+
WѺR(L)DS FҨӶ THξ FUTURЭ
+
XPUB
+
XPUB
+ + + +
+
+
+
+
+
+
+
+
+            Words have the power to shape reality. Wor(l)ds for the Future is a set of map making tools to reimagine and collect wor(l)ds and republish an everchanging atlas. We invite you to delve into the materials and traverse the texts in any way you desire: by cutting and pasting the printed matter, or by unravelling the texts online. The choice is yours. You can reconstruct images and reinterpret wor(l)ds, to create Wor(l)ds for the Future.

+


+
+ +
+
+
+
+
+
+
+
+ +This project is a republication of Words for the Future (2018), a multivoiced series of ten booklets. In the 2020 version, XPUB (Experimental Publishing) students from the Piet Zwart institute reinterpret the original material through methods such as annotating and prototyping in Python (a coding language we used to analyse text as texture). The ten booklets were cross-examined and mapped in order to find interconnections and links.

+ +We approached this project through the perspective of cartography. Alfred Korzybski wrote: "The map is not the territory". In other words, the description of the thing is not the thing itself. The model is not reality. Cartography always entails a selection and transformation of properties of a complex reality that affect the way maps – partial views of reality – are deciphered and received. With this notion in mind, we created a mapping to highlight our individual explorations and interpretations using a language of symbols created to represent our understanding of the original essays.

+ +A map could thus relate to something that no longer exists. It could also relate to something that does not yet exist. Maps could be seen as fictions therefore, as spaces for the imaginary.

+ + Join us to un-map and re-map an infinite amount of potential constellations of tomorrow, and to navigate speculative wor(l)ds which holds the capacity to bleed into the very fabric of our shared grounds. +

+ Online publication:
+ https://hub.xpub.nl/sandbot/words-for-the-future/
+
+ +
+ +

+ +
+ + +
+ + + + Legenda: +


+—————————————————————————————— +

+LLiquid by Kendal Beynon
+
+—————————————————————————————— +

+ TTense by Martin Foucaut
+ +
+—————————————————————————————— +

+ AAtata by Camilo García A.
+ +
+—————————————————————————————— +

+ M!? by Clara Gradel
+ +
+—————————————————————————————— +

+ UUndecidability by Nami Kim
+ +
+—————————————————————————————— +

+ HHope by Euna Lee
+ +
+—————————————————————————————— +

+ OOtherness by Jacopo Lega
+ +
+—————————————————————————————— +

+ PPractical Vision by Federico Poni
+ +
+—————————————————————————————— +

+ RResurgence by Louisa Teichmann
+
+—————————————————————————————— +

+ EEco-Swaraj by Floor van Meeuwen
+
+—————————————————————————————— +

+ +
+ + +
+ + + + + + + diff --git a/COLOPHON/A3colophoncredits.html b/COLOPHON/A3colophoncredits.html new file mode 100644 index 0000000..ab071a2 --- /dev/null +++ b/COLOPHON/A3colophoncredits.html @@ -0,0 +1,659 @@ + + + + + + + + + +
CTRL(⌘)+ P to print the A3 end credits (W.I.P)
+ Please use Chromium Open Source browser and set to Horizontal A3

+ A3 Cover PDF(here)

+ + + + Thank you!
+ + + +
WѺR(L)DS
FҨӶ THξ FUTURЭ
+
WOR(L)DS FOR THE FUTURE
+
XPUB
+
XPUB 2020
+ + + +
+
+ +

A pluralistic open license

+ © 2020 XPUB - SPECIAL ISSUE 13 +

+ + Permission is hereby granted, free of charge, to individual, group(s), and non-profit organization(s), obtaining a copy of this project, to use, copy, print, modify, merge, distribute, and/or sell contents or copies of the project, in whole or in parts, subject to the following conditions.
+ +

+

We encourage you to:

+ •    introduce the project to your neighbours, friends, family, etc;

+ + •    translate the contents into other languages;

+ + •    create new dramaturgies (structures, stories, worlds) from the contents;

+ + •    extend this license, as long as the kinship, commercial use and attribution conditions remain in force.
+ +

+

Kinship:

+ Kinship implies co-relations between Wor(l)ds For The Future and further distributions which will potentially be made. + + If you want to republish and re-distribute the content, verbatim or derivative, we ask you to send us a copy. By copy we mean a copy of the republished content. For instance, if it is a print or a physical object please send it to XPUB/ WH4.141 t.a.v. Piet Zwart Institute/ WdKA/ Rotterdam Uni. Postbus 1272 300 BG Rotterdam, NL. If it is a file please send it to pzwart-info@hr.nl /attn: XPUB cc. If it is a change in a cloned git repository of the work, please send a patch so we can archive it in a branch. Which means, if you clone or download our git repos ( https://git.xpub.nl/XPUB/issue.xpub.nl/src/branch/master/13 ) to modify the project files, we ask you to send us the modifications so we can archive them as well.
+ +

+

Commercial use:

+ Commercial use is only permitted if no profit is derived. Said differently, you can sell copies of the work only to cover the costs of the distribution, printing, production, needed to circulate copies of the work. We are asking you to be transparent about such expenses.
+ +

+

Attribution:

+ The above copyright notice and this license shall be included in all copies or modified versions of the project. Any re-publication, verbatim or derivative, of the contents must explicitly credit the name(s) of the author(s) of WORDS FOR THE FUTURE, as well as those of the author(s) of WOR(L)DS FOR THE FUTURE. This attribution must make clear what changes have been made.
+ +
+ +
+

Tutors:

+ Aymeric Mansoux

+Lídia Pereira

+Manetta Berends

+Michael Murtaugh

+Steve Rushton

+ + + +

Print

+ Print run: 100

+ •    The risograph pages were printed on a Riso MZ1070 in van Beek paper of 120gr at Wdka Print Station

+ •    The A0 poster was printed by ------

+ Special Type set in:

+ •    Custom Roboto (All caps Roboto with 10 custom characters made by XPUB1 students)

+ •    wftfs regular ( 10 symbols made by XPUB1 students)

+

Thanks

+Made possible by Piet Zwart Institute
+
+Rotterdam, NL
+Winter, 2020
+
+ +
+ +
+

Words for the future (2017/18)

+ Curated and edited by Nienke Scholts, in collaboration with Veem Huis for Performance, designed and printend by THE FUTURE printing & publishing: www.nienkescholts.com/words-for-the-future

+

Authors

+———————————————————————————————————————— +

+🡢 Liquid   Rachel Armstrong Andrea Božic & Julia Willms (TILT)
+
+———————————————————————————————————————— +

+🡢 Otherness   Daniel L. Everett, Sarah Moeremans
+

+———————————————————————————————————————— +
+ + 🡢 Practical Vision   Moses Kilolo (Jalada), Klara van Duijkeren & Vincent Schipper (The Future)
+

+———————————————————————————————————————— +

+ + 🡢 Eco-Swaraj   Ashish Kothari, Rodrigo Sobarzo
+
+———————————————————————————————————————— +

+ + 🡢 Hope   by Gurur Ertem, Ogutu Murayalink
+
+———————————————————————————————————————— +

+ + 🡢 Undecidability   Silvia Bottiroli, Jozef Wouters
+
+———————————————————————————————————————— +

+ + 🡢 Resurgence   Isabelle Stengers, Ola Macijewska
+
+———————————————————————————————————————— +

+ + 🡢 !?   Nina Power, Michiel Vandeveldelink
+
+———————————————————————————————————————— +

+ + 🡢 Atata   Natalia Chavez Lopez, Hilda Moucharrafieh
+
+———————————————————————————————————————— +

+ + 🡢 Tense   Simon(e) van Saarloos, Eilit Marom & Anna Massoni
& Elpida Orfanidou & Adina Secretan & Simone Truong

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+———————————————————————————————————————— +

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CTRL(⌘)+ P to print the A0 grid (W.I.P)
+Please use Chromium Open Source browser and set to Horizontal A0

+A0 Grid PDF(here) +
+Thank you! +
+ + + + + +
WOR(L)DS FOR A FUTURE is a re-publishing project compiled by the first year students and mentoring team of the Master programme Experimental Publishing (XPUB) of the Piet Zwart Institute, Willem de Kooning Academy, as part of the Special Issue project #13. The project aims to explore the re-publishing of the publication series Words for the Future through the students' discursive and artistic responses to the original collection.
+ + + +
+
+ + + L Liquid

This symbol represents a perpetual state of flux between information and ideas. +
+The output transforms into input that flows in self-sustaining circularities, thus, shaping a series of dynamic feedback loops to create new meaning.
+

+————————————————————————— +

+ + O Otherness

Shaped as a small, autonomous community, with its specific identity. Small communities could be developed close to each other, but only on the same strip of land. If they’re adjacent they build a network to share resource and culture.
+

+————————————————————————— +

+ + PPractical Vision

Practical Vision symbol sets a series of communication skills: when two Practical Visions watch theirself they create translations between different languages. A Practical Vision attempts to protect past and future cultures and works through organic and inorganic networks.
+

+————————————————————————— +

+ + E Eco-Swaraj

Self-decision making in an eco community is what Eco Swaraj is about. This symbol could be seen as a flower, people holding hands, a thought before a decision is being made.
+

+————————————————————————— +

+ + H Hope

This symbol illustrates the destination of Hope, written by Gurur Ertem. The author considers it as a solution +to overcome the darkness in our present and future life.
+

+————————————————————————— +

+ + U Undecidability

As undecidability embraces opend imaginaries and multiplicities, the symbol was inspired by fog, the nature element.
+

+————————————————————————— +

+ + R Resurgence

This volcano depicts the legendary moment of long forgotten matter finally breaking through its suffocating covers, forcefully spilling out into the open with the heat of a thousand suns.
+

+————————————————————————— +

+ + M !?

This is a descritpion of !?: Et mi, voluptatum fugia voluptat. +Enet enturerum vendam, temolup taecatem cum iumendent, omnitibus et, conse pre doluptatem voloris doluptas audaepe rorepra dolorest optiaeri veliquam ex etur.
+

+————————————————————————— +

+ + A Atata

atata’s symbol represents being in relation to ohers as an active act of reciprocity, It binds, connects and links beings.
+

+————————————————————————— +

+ + T Tense

Tense's symbol depicts the encapsulation of a content/subject inside a meta-description
+

+————————————————————————— +
+ +
+ +
+ +
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+ + +
+ +
+ WOr(L)DS
FoR THE FuTUrE
+ +
+ + + + +
+ + + + + + + diff --git a/COLOPHON/index.html b/COLOPHON/index.html new file mode 100644 index 0000000..8376239 --- /dev/null +++ b/COLOPHON/index.html @@ -0,0 +1,871 @@ + + + + + + + + + +
CTRL(⌘)+ P to print the A0 colophon (W.I.P)
+ A3 colophon cover in progress.(here)
+ A3 colophon end credits in progress.(here)

+ Please use Chromium Open Source browser and set to Horizontal A0

+A0 Colophon PDF(here)
+A0 Grid PDF(here)

+A0 Grid html (here)

+ + Thank you!
+ + + +
WѺR(L)DS
FҨӶ THξ FUTURЭ
+
WѺR(L)DS FҨӶ THξ FUTURЭ
+
XPUB 2020
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XPUB 2020
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+ In a world in which words have the power to shape our lived reality, we are proposing a set of building blocks to reinvision this common landscape, a landscape of a future unknown. Join us and un-map, re-map and re-map an inifinite amount of potential constellations, to navigate a not yet defined world which holds the potential to bleed into the fabric of our shared grounds.

+ + + "The map of reality is not reality, since the description of the thing is not the thing itself. It’s all about interpretation: symbols, parameters, grids. With the lack of interpretation comes the space for the individual abstraction. The abstraction, together with the enforcement of new values and parameters, create new landscapes and possibilities for the future."

+
+
+
+ WOR(L)DS FOR THE FUTURE is a re-publishing project compiled by the first year XPUB MA students and mentoring team as part of the special issue project #13.
+ + The project aims to explore how re-publishing can resonate with the students artistic responses to the original project, as well as how it could be made accessible to a wider audience.
+ + + Together, the ten original essays desirably imply a respectful and unruled future, therefore the XPUB students agree that the republishing project can be poetically themed with counter-hegemonism.
+ + The project will hopefully be considered as a beacon of hope for both the present and the future.
+



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Guests & teachers:

+ Nienke Scholts, Aymeric Mansoux, Steve Rushton, Lidia Pereira, Manetta Berends, Michael Murtaugh
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Online publication:

+ https://hub.xpub.nl/sandbot/words-for-the-future/
+ +
+ +

+ +
+ +
+

Wor(l)ds for the Future [2020]

+ This is is a re-publishing project compiled by the first year XPUB MA students and mentoring team as part of the special ISSUE #13.
+Re-Publishing Responses:
+

+——————————————————————————————————————————————————————————————— +
+🡢 Liquid
Kendal
+
+——————————————————————————————————————————————————————————————— +
+ + 🡢 Otherness
Jacopo
+
+——————————————————————————————————————————————————————————————— +
+ + 🡢 Practical
Federico
+
+——————————————————————————————————————————————————————————————— +
+ + 🡢 Eco-Swaraj
Floor
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+——————————————————————————————————————————————————————————————— +
+ + 🡢 Hope
Euna
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+——————————————————————————————————————————————————————————————— +
+ + 🡢 Undecidability
Nami
+
+——————————————————————————————————————————————————————————————— +
+ + 🡢 Resurgence
Louisa
+
+——————————————————————————————————————————————————————————————— +
+ + 🡢 !?
Clara
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+——————————————————————————————————————————————————————————————— +
+ + 🡢 Atata
Camilo
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+——————————————————————————————————————————————————————————————— +
+ + 🡢 Tense
Martin
+
+——————————————————————————————————————————————————————————————— +

+

Words for the future [2016]

+ directed by Nienke Scholts
+
+AUTHORS:
+
+——————————————————————————————————————————————————————————————— +
+ 🡢 LIQUID
+ + Rachel Armstrong Andrea Božic & Julia Willms (TILT)
+
+——————————————————————————————————————————————————————————————— +
+ 🡢 OTHERNESS
+ Daniel L. Everett, Sarah Moeremansl
+
+——————————————————————————————————————————————————————————————— +
+ + 🡢 PRACTICAL VISION
Moses Kilolo (Jalada), Klara van Duijkeren & Vincent Schipper (The Future)
+
+——————————————————————————————————————————————————————————————— +
+ 🡢 ECO-SWARAJA
+ shish Kothari, Rodrigo Sobarzo
+
+——————————————————————————————————————————————————————————————— +
+ 🡢 HOPE
Gurur Ertem, Ogutu Murayalink
+
+——————————————————————————————————————————————————————————————— +
+ 🡢 TENSE
+ Simon(e) van Saarloos, Eilit Marom & Anna Massoni & Elpida Orfanidou & Adina Secretan & Simone Truong
+
+——————————————————————————————————————————————————————————————— +
+ 🡢 UNDECIDABILITY
+ Silvia Bottiroli, Jozef Wouters
+
+——————————————————————————————————————————————————————————————— +
+ 🡢 RESURGENCE
+ Isabelle Stengers, Ola Macijewska
+
+——————————————————————————————————————————————————————————————— +
+ 🡢 !?
+ Nina Power, Michiel Vandeveldelink
+
+——————————————————————————————————————————————————————————————— +
+ 🡢 ATATA
+ Natalia Chavez Lopez, Hilda Moucharrafieh
+
+——————————————————————————————————————————————————————————————— +
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Published by XPUB1 students

+ Print run: 100
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+ The risograph pages were printed on a Riso MZ1070 in van Beek paper of 120gr at Wdka Print Station
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+ The A0 poster was printed by ------
+
+Special Type set in:
+
+ Custom Roboto (All caps Roboto with 10 custom characters made by XPUB1 students)
+
+ wftfs regular ( 10 symbols made by XPUB1 students)
+
+Made possible by Piet Zwart Institute
+
+——————————————————————————————————————————————————————————————— +
+
+
+Rotterdam, NL
+Winter, 2020
+
+ + +
+ + + + + + + diff --git a/COLOPHON/wftfs-Regular.otf b/COLOPHON/wftfs-Regular.otf new file mode 100644 index 0000000..a1c417d Binary files /dev/null and b/COLOPHON/wftfs-Regular.otf differ diff --git a/DRAW/.DS_Store b/DRAW/.DS_Store new file mode 100644 index 0000000..5008ddf Binary files /dev/null and b/DRAW/.DS_Store differ diff --git a/DRAW/_OTHERS/index.html.old b/DRAW/_OTHERS/index.html.old new file mode 100644 index 0000000..64e89cc --- /dev/null +++ b/DRAW/_OTHERS/index.html.old @@ -0,0 +1,49 @@ + + + + + + Wor(l)ds for the Future + + + + + + + + + + + + + + + +
+ +

Atata


+ +

Liquid



+ +

!?



+ +

Otherness






+ + + + + + + + + + + + + +
+ + + + + \ No newline at end of file diff --git a/DRAW/_OTHERS/louisa.css b/DRAW/_OTHERS/louisa.css new file mode 100644 index 0000000..d458ad4 --- /dev/null +++ b/DRAW/_OTHERS/louisa.css @@ -0,0 +1,353 @@ +@media screen{ + + @font-face { + font-family: 'Roboto'; + src: url('Roboto-Regular.ttf'); +} + @font-face { + font-family: 'Robotobold'; + src: url('Roboto-Bold.ttf'); +} + @font-face { + font-family: 'Robotomedium'; + src: url('Roboto-Medium.ttf'); +} + @font-face { + font-family: 'WFTF'; + src: url('wftfs-Regular.otf'); +} + @font-face { + font-family: 'EBGaramonditalic'; + src: url('EBGaramond-MediumItalic.ttf'); +} + @font-face { + font-family: 'EBGaramonditalicsemi'; + src: url('EBGaramond-SemiBoldItalic.ttf'); +} + @font-face { + font-family: 'EBGaramondregular'; + src: url('EBGaramond-Medium.ttf'); +} + @font-face { + font-family: 'Brut'; + src: url('Brut_Grotesque-Text.otf'); +} + + #atata { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + #symbolA { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolA2 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolL { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolO { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolE { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolM { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolT { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolH { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolP { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolR { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolU { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #Liquid { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + + margin-left: 1%; + } + #Otherness { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + + margin-left: 1%; + } + #Eco { + font-family:'Roboto'; + font-size: 3em; + + line-height: 100%; + margin-left: 1%; + } + #M { + font-family:'Roboto'; + font-size: 3em; + + line-height: 100%; + margin-left: 1%; + } + #Tense { + font-family:'Roboto'; + font-size: 3em; + + line-height: 100%; + margin-left: 1%; + } + #Hope { + font-family:'Roboto'; + font-size: 3em; + + line-height: 100%; + margin-left: 1%; + } + #Practical{ + font-family:'Roboto'; + font-size: 3em; + + line-height: 100%; + margin-left: 1%; + } + #Resurgence1{ + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + #Undecidability{ + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + text{ + font-family:'Roboto'; + font-size: 5em; + color: purple; + line-height: 100%; + margin-left: 1%; + } + .colophon { + position: fixed; + bottom: 1%; + right: 1%; + } + .licenses { + position: fixed; + bottom: 1%; + left: 1%; + } + .about { + position: fixed; + top: 1%; + right: 1%; + } + + + +:root{ + font-family:'Roboto'; + --regular: 20%; + + } + + body{ + /*pointer-events: none;*/ + margin: 0 ; + height: 100vh; + width: 100vw; + background-color: var(--background-color); + background-image: url('grid.png'); + background-size: 8vw; + overflow-y: hidden; +} + p{ + font-family:'Roboto'; + line-height: 120%; + + } + + #pic { + width: 100px; + } + + + + .pic { + width: 100px; +} + +#container{ + z-index: 1; + line-height: 100%; + } +#background{z-index: 0;} + +#map{width: 100%; + height: auto;} + +p:hover{box-shadow: 0px 0px 40px black} + + + + +button{ + position: fixed; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + padding: 0.5vw 1.3em; + color: black; + font-size: 1.5vw; + text-decoration: none; + margin-bottom: 1.5vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); +} +button1{ + position: fixed; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + padding: 0.5vw 1.3em; + color: black; + top: 1%; + left: 30px; + font-size: 1.5vw; + text-decoration: none; + margin-bottom: 1.5vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); +} +button3{ + position: fixed; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + padding: 0.5vw 1.3em; + color: black; + bottom: 1%; + left: 90px; + font-size: 1.5vw; + text-decoration: none; + margin-bottom: 1.5vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); +} +.container{z-index:15; position: absolute; + height: 50%; + width: 50%; + padding: 10px; + z-index: 10; + color: black; + position:fixed; + border-radius: 10px; + padding: 1em; + box-shadow: 0 0 40px #214c12; + background-color:white; + resize: both; + visibility: hidden; + opacity: 0; + top: 50%; + left: 50%; + z-index:10; + transform: translate(-50%, -50%);} + +.close{font-size: 1em; + color: white;top: 2%; + right: 2%;} + + + span{color: white; + } + +.intro{z-index:15; position: absolute; + height: 70%; + width: 70%; + padding: 10px; + z-index: 10; + color: black; + position:fixed; + border-radius: 10px; + padding: 1em; + box-shadow: 0 0 40px #214c12; + background-color:white; + resize: both; + visibility: hidden; + opacity: 0; + top: 50%; + left: 50%; + z-index:10; + transform: translate(-50%, -50%); + overflow-x: hidden; + resize: both; + visibility: visible; + opacity: 1;} + +.enter{font-size: 1em;top: 50%; + left: 50%; + transform: translate(-50%, -50%);} + + #close{ position: absolute; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + color: black; + bottom: 1%; + text-align: right; + font-size: 0.5vw; + text-decoration: none; + margin-bottom: 0.1vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0)} \ No newline at end of file diff --git a/DRAW/_OTHERS/louisa.html b/DRAW/_OTHERS/louisa.html new file mode 100644 index 0000000..61c60c9 --- /dev/null +++ b/DRAW/_OTHERS/louisa.html @@ -0,0 +1,92 @@ + + + + + + Wor(l)ds for the Future + + + + + + + + + + + + + + + +
+ +

Atata


+ +

Liquid



+ +

!?



+ +

Otherness






+ + + + + + + + + + + + +
+ + + + + + + + + +
THIS IS THE COLOPHON + + +
+
WELCOME TO WOR(L)DS FOR THE FUTURE BLABLA DRAW OR DRAG AND DROP OR WHATEVER
+ + + + + + \ No newline at end of file diff --git a/DRAW/_OTHERS/louisanew.html b/DRAW/_OTHERS/louisanew.html new file mode 100644 index 0000000..a5fef96 --- /dev/null +++ b/DRAW/_OTHERS/louisanew.html @@ -0,0 +1,110 @@ + + + + + + Wor(l)ds for the Future + + + + + + + + + + + + + + + +
+ +

Atata

A




+ +

Liquid

L




+ +

Otherness

O




+ +

Eco-Swaraj

E




+ +

!?

M




+ +

Tense

T




+ +

Hope

H




+ +

Practical Vision

P




+ +

Resurgence

R




+ +

Undecidability

U







+ + + + + + +
+
WELCOME TO WOR(L)DS FOR THE FUTURE BLABLA DRAW OR DRAG AND DROP OR WHATEVER
+ + +
THIS IS ABOUT
+ + +
+

THIS IS THE COLOPHON

+ +
+ + +
+

THIS IS THE LICENSES

+ + + + + + + + + + + \ No newline at end of file diff --git a/DRAW/_OTHERS/newstyle.css b/DRAW/_OTHERS/newstyle.css new file mode 100644 index 0000000..ade9909 --- /dev/null +++ b/DRAW/_OTHERS/newstyle.css @@ -0,0 +1,429 @@ +@media screen{ + + @font-face { + font-family: 'Roboto'; + src: url('Roboto-Regular.ttf'); +} + @font-face { + font-family: 'Robotobold'; + src: url('Roboto-Bold.ttf'); +} + @font-face { + font-family: 'Robotomedium'; + src: url('Roboto-Medium.ttf'); +} + @font-face { + font-family: 'WFTF'; + src: url('wftfs-Regular.otf'); +} + @font-face { + font-family: 'EBGaramonditalic'; + src: url('EBGaramond-MediumItalic.ttf'); +} + @font-face { + font-family: 'EBGaramonditalicsemi'; + src: url('EBGaramond-SemiBoldItalic.ttf'); +} + @font-face { + font-family: 'EBGaramondregular'; + src: url('EBGaramond-Medium.ttf'); +} + @font-face { + font-family: 'Brut'; + src: url('Brut_Grotesque-Text.otf'); +} + .grab{ + cursor: grab; + } + + #atata { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + #symbolA { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolA2 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolL { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolO { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolE { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolM { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolT { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolH { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolP { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolR { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolU { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #Liquid { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + + margin-left: 1%; + } + #Otherness { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + + margin-left: 1%; + } + #Eco { + font-family:'Roboto'; + font-size: 3em; + + line-height: 100%; + margin-left: 1%; + } + #M { + font-family:'Roboto'; + font-size: 3em; + + line-height: 100%; + margin-left: 1%; + } + #Tense { + font-family:'Roboto'; + font-size: 3em; + + line-height: 100%; + margin-left: 1%; + } + #Hope { + font-family:'Roboto'; + font-size: 3em; + + line-height: 100%; + margin-left: 1%; + } + #Practical{ + font-family:'Roboto'; + font-size: 3em; + + line-height: 100%; + margin-left: 1%; + } + #Resurgence1{ + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + #Undecidability{ + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + text{ + font-family:'Roboto'; + font-size: 5em; + color: purple; + line-height: 100%; + margin-left: 1%; + } + .colophon { + position: fixed; + bottom: 1%; + right: 1%; + } + .licenses { + position: fixed; + bottom: 1%; + left: 1%; + } + .about { + position: fixed; + top: 1%; + right: 1%; + } + + + +:root{ + font-family:'Roboto'; + --regular: 20%; + + } + + body{ + /*pointer-events: none;*/ + margin: 0 ; + height: 100vh; + width: 100vw; + background-color: var(--background-color); + background-image: url('grid.png'); + background-size: 8vw; + overflow-y: hidden; +} + + + p{ + font-family:'Roboto'; + line-height: 120%; + } + + #pic { + width: 100px; + } + + .pic { + width: 100px; +} + +#container{ + z-index: 1; + line-height: 100%; + -moz-user-select: none; + -khtml-user-select: none; + -webkit-user-select: none; + -ms-user-select: none; + user-select: none; +} + + +#background{ + z-index: 0; + } + +#map{ + width: 100%; + height: auto;} + +p:hover{ + box-shadow: 0px 0px 40px black; + } + + + + +button{ + position: fixed; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + padding: 0.5vw 1.3em; + color: black; + font-size: 1.5vw; + text-decoration: none; + margin-bottom: 1.5vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); +} +button1{ + position: fixed; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + padding: 0.5vw 1.3em; + color: black; + top: 1%; + left: 30px; + font-size: 1.5vw; + text-decoration: none; + margin-bottom: 1.5vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); +} +button3{ + position: fixed; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + padding: 0.5vw 1.3em; + color: black; + bottom: 1%; + left: 90px; + font-size: 1.5vw; + text-decoration: none; + margin-bottom: 1.5vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); +} +.container{ + z-index:15; + position: absolute; + overflow: scroll; + font-size: 2em; + line-height: 100%; + color: blue; + height: 97%; + width: 20%; + padding: 10px; + margin-top: 3.5%; + z-index: 10; + color: #242322; + position:fixed; + right: 0.01px; + border-radius: 2px; + top: 10px; + opacity: 1; + padding: 1em; + box-shadow: 0 0 40px #214c12; + background-color:#bbb9c17d; + overflow: scroll; + overflow-x: hidden; + resize: both; + visibility: hidden; + opacity: 0; +} + +.container2{ + z-index:15; + position: absolute; + overflow: scroll; + color: blue; + height: 97%; + width: 20%; + padding: 10px; + z-index: 10; + color: #242322; + position:fixed; + left: 0.01px; + border-radius: 2px; + top: 10px; + opacity: 1; + padding: 1em; + box-shadow: 0 0 40px #214c12; + background-color:#bbb9c17d; + overflow: scroll; + overflow-x: hidden; + resize: both; + visibility: hidden; + opacity: 0; + } +.container3{ + z-index:15; + position: absolute; + overflow: scroll; + color: blue; + height: 97%; + width: 20%; + padding: 10px; + z-index: 10; + color: #242322; + position:fixed; + right: 0.01px; + border-radius: 2px; + top: 10px; + opacity: 1; + padding: 1em; + box-shadow: 0 0 40px #214c12; + background-color:#bbb9c17d; + overflow: scroll; + overflow-x: hidden; + resize: both; + visibility: hidden; + opacity: 0; + } +.close{ + font-size: 2em; + margin-left: 1%; + position: relative; +} +} + +.intro{ + z-index:15; position: absolute; + height: 70%; + width: 70%; + padding: 10px; + z-index: 10; + color: black; + position:fixed; + border-radius: 10px; + padding: 1em; + box-shadow: 0 0 40px #214c12; + background-color:white; + resize: both; + visibility: hidden; + opacity: 0; + top: 50%; + left: 50%; + z-index:10; + transform: translate(-50%, -50%); + overflow-x: hidden; + resize: both; + visibility: visible; + opacity: 1; +} + +.enter{ + font-size: 1em;top: 50%; + left: 50%; + transform: translate(-50%, -50%); +} + +#close{ + position: absolute; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + color: black; + bottom: 1%; + text-align: right; + font-size: 0.5vw; + text-decoration: none; + margin-bottom: 0.1vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0) +} \ No newline at end of file diff --git a/DRAW/_OTHERS/script-Copy1.js b/DRAW/_OTHERS/script-Copy1.js new file mode 100644 index 0000000..787cab8 --- /dev/null +++ b/DRAW/_OTHERS/script-Copy1.js @@ -0,0 +1,104 @@ + +//DRAG & DROPs + +draggable = new PlainDraggable(document.getElementById('atata')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Liquid')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('M')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Otherness')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +//draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('pic')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Resurgence')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('pic2')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; +draggable = new PlainDraggable(document.getElementById('pic3')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; +draggable = new PlainDraggable(document.getElementById('pic4')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; +draggable = new PlainDraggable(document.getElementById('pic5')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; +draggable = new PlainDraggable(document.getElementById('pic6')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +//P5 DRAWING + +// var numberOfRows; //determine the number of rows we want +// var numberOfColumns; //determine the number of columns we want + +// var xStep; //determine the size of the gap between two points on the x axis +// var yStep; //determine the size of the gap between two points on the y axis + +// var positions = []; //an array of positions where we will store each of our Vectors + + +function setup() { + + +canvas = createCanvas(windowWidth, windowHeight); +canvas.position(0, 0); +canvas.style('z-index', '-10'); +background(0,0,0,0); + + +// numberOfColumns = 10; //we want 16 columns +// numberOfRows = 10; //we want 9 rows + +// xStep = windowWidth/numberOfColumns; //to make sure they are evenly spaced, we divide the width and height by numberOfColumns +// yStep = windowHeight/numberOfRows; //and numberOfRows respectively + +// for(var x = 0; x < width; x += xStep){ //start at the first column, where x = 0 + +// for(var y = 0; y < height; y += yStep){ //go through all the rows (y = 0, y = yStep * 1, y = yStep * 2, etc.) + +// var p = createVector(x, y); //we create a vector at this location + +// positions.push(p); // and then we put the vector into the array + +// } +// //at the end of the inner for loop, we go back to the first loop, and we increment x +// //now our column is going to be x = xStep*1, and we populate all the rows with the inner for loop +// //and again, and again until x > width +// } + + +} + +function draw() { + +fill(0,0,0); + +// for(var i = 0; i < positions.length; i++){ //go through all our positions +// ellipse(positions[i].x, positions[i].y, 2000, 2); //put a circle at each of them +// } +// for(var i = 0; i < positions.length; i++){ //go through all our positions +// ellipse(positions[i].x, positions[i].y, 2, 2000); //put a circle at each of them +// } + + +if (mouseIsPressed === true) { + stroke(0); + strokeWeight(3) + line(mouseX, mouseY, pmouseX, pmouseY); +} +} diff --git a/DRAW/_OTHERS/style.css.old b/DRAW/_OTHERS/style.css.old new file mode 100644 index 0000000..3272e6c --- /dev/null +++ b/DRAW/_OTHERS/style.css.old @@ -0,0 +1,33 @@ +:root{ + font-family: Arial, Helvetica, sans-serif; + --background-color: white +} + +body{ + margin: 0 ; + height: 100%; + width: 100%; + background-color: var(--background-color); + background-image: url('map.png'); + background-size: 100%; + background-repeat: no-repeat; + height: auto; + overflow: hidden; + /* filter: invert(); */ + +} + +#pic{width: 100px;} + + + +.pic{width: 100px;} + +#container{z-index: 1;} +#background{z-index: 0;} + +#map{width: 100%; + height: auto;} + +p:hover{box-shadow: 0px 0px 40px black} + diff --git a/DRAW/assets/grid.png b/DRAW/assets/grid.png new file mode 100644 index 0000000..fd7a502 Binary files /dev/null and b/DRAW/assets/grid.png differ diff --git a/DRAW/assets/liquid/liquidsym1.png b/DRAW/assets/liquid/liquidsym1.png new file mode 100644 index 0000000..0f7e348 Binary files /dev/null and b/DRAW/assets/liquid/liquidsym1.png differ diff --git a/DRAW/assets/liquid/liquidsym2.png b/DRAW/assets/liquid/liquidsym2.png new file mode 100644 index 0000000..1ec357e Binary files /dev/null and b/DRAW/assets/liquid/liquidsym2.png differ diff --git a/DRAW/assets/practical/practical.svg b/DRAW/assets/practical/practical.svg new file mode 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diff --git a/DRAW/fonts/EBGaramond-Italic.ttf b/DRAW/fonts/EBGaramond-Italic.ttf new file mode 100644 index 0000000..a7201b0 Binary files /dev/null and b/DRAW/fonts/EBGaramond-Italic.ttf differ diff --git a/DRAW/fonts/EBGaramond-Medium.ttf b/DRAW/fonts/EBGaramond-Medium.ttf new file mode 100644 index 0000000..b9d6964 Binary files /dev/null and b/DRAW/fonts/EBGaramond-Medium.ttf differ diff --git a/DRAW/fonts/EBGaramond-MediumItalic.ttf b/DRAW/fonts/EBGaramond-MediumItalic.ttf new file mode 100644 index 0000000..a7cf2e5 Binary files /dev/null and b/DRAW/fonts/EBGaramond-MediumItalic.ttf differ diff --git a/DRAW/fonts/EBGaramond-Regular.ttf b/DRAW/fonts/EBGaramond-Regular.ttf new file mode 100644 index 0000000..f57146c Binary files /dev/null and b/DRAW/fonts/EBGaramond-Regular.ttf differ diff --git a/DRAW/fonts/EBGaramond-SemiBold.ttf b/DRAW/fonts/EBGaramond-SemiBold.ttf new file mode 100644 index 0000000..e7e91a3 Binary files /dev/null and b/DRAW/fonts/EBGaramond-SemiBold.ttf differ 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a/DRAW/fonts/Roboto-Italic.ttf b/DRAW/fonts/Roboto-Italic.ttf new file mode 100644 index 0000000..5b390ff Binary files /dev/null and b/DRAW/fonts/Roboto-Italic.ttf differ diff --git a/DRAW/fonts/Roboto-Light.ttf b/DRAW/fonts/Roboto-Light.ttf new file mode 100644 index 0000000..3526798 Binary files /dev/null and b/DRAW/fonts/Roboto-Light.ttf differ diff --git a/DRAW/fonts/Roboto-LightItalic.ttf b/DRAW/fonts/Roboto-LightItalic.ttf new file mode 100644 index 0000000..46e9bf7 Binary files /dev/null and b/DRAW/fonts/Roboto-LightItalic.ttf differ diff --git a/DRAW/fonts/Roboto-Medium.ttf b/DRAW/fonts/Roboto-Medium.ttf new file mode 100644 index 0000000..f714a51 Binary files /dev/null and b/DRAW/fonts/Roboto-Medium.ttf differ diff --git a/DRAW/fonts/Roboto-MediumItalic.ttf b/DRAW/fonts/Roboto-MediumItalic.ttf new file mode 100644 index 0000000..5dc6a2d Binary files /dev/null and b/DRAW/fonts/Roboto-MediumItalic.ttf differ diff --git a/DRAW/fonts/Roboto-Regular.ttf b/DRAW/fonts/Roboto-Regular.ttf new file mode 100644 index 0000000..2b6392f Binary files /dev/null and b/DRAW/fonts/Roboto-Regular.ttf differ diff --git a/DRAW/fonts/Roboto-Thin.ttf b/DRAW/fonts/Roboto-Thin.ttf new file mode 100644 index 0000000..4e797cf Binary files /dev/null and b/DRAW/fonts/Roboto-Thin.ttf differ diff --git a/DRAW/fonts/Roboto-ThinItalic.ttf b/DRAW/fonts/Roboto-ThinItalic.ttf new file mode 100644 index 0000000..eea836f Binary files /dev/null and b/DRAW/fonts/Roboto-ThinItalic.ttf differ diff --git a/DRAW/fonts/RobotoMono-Bold.ttf b/DRAW/fonts/RobotoMono-Bold.ttf new file mode 100644 index 0000000..900fce6 Binary files /dev/null and b/DRAW/fonts/RobotoMono-Bold.ttf differ diff --git a/DRAW/fonts/RobotoMono-BoldItalic.ttf b/DRAW/fonts/RobotoMono-BoldItalic.ttf new file mode 100644 index 0000000..4bfe29a Binary files /dev/null and b/DRAW/fonts/RobotoMono-BoldItalic.ttf differ diff --git a/DRAW/fonts/RobotoMono-ExtraLight.ttf b/DRAW/fonts/RobotoMono-ExtraLight.ttf new 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b/DRAW/fonts/RobotoMono-Medium.ttf new file mode 100644 index 0000000..8461be7 Binary files /dev/null and b/DRAW/fonts/RobotoMono-Medium.ttf differ diff --git a/DRAW/fonts/RobotoMono-MediumItalic.ttf b/DRAW/fonts/RobotoMono-MediumItalic.ttf new file mode 100644 index 0000000..a3bfaa1 Binary files /dev/null and b/DRAW/fonts/RobotoMono-MediumItalic.ttf differ diff --git a/DRAW/fonts/RobotoMono-Regular.ttf b/DRAW/fonts/RobotoMono-Regular.ttf new file mode 100644 index 0000000..7c4ce36 Binary files /dev/null and b/DRAW/fonts/RobotoMono-Regular.ttf differ diff --git a/DRAW/fonts/RobotoMono-SemiBold.ttf b/DRAW/fonts/RobotoMono-SemiBold.ttf new file mode 100644 index 0000000..15ee6c6 Binary files /dev/null and b/DRAW/fonts/RobotoMono-SemiBold.ttf differ diff --git a/DRAW/fonts/RobotoMono-SemiBoldItalic.ttf b/DRAW/fonts/RobotoMono-SemiBoldItalic.ttf new file mode 100644 index 0000000..8e21497 Binary files /dev/null and b/DRAW/fonts/RobotoMono-SemiBoldItalic.ttf differ diff --git a/DRAW/fonts/RobotoMono-Thin.ttf b/DRAW/fonts/RobotoMono-Thin.ttf new file mode 100644 index 0000000..ee8a3fd Binary files /dev/null and b/DRAW/fonts/RobotoMono-Thin.ttf differ diff --git a/DRAW/fonts/RobotoMono-ThinItalic.ttf b/DRAW/fonts/RobotoMono-ThinItalic.ttf new file mode 100644 index 0000000..40b01e4 Binary files /dev/null and b/DRAW/fonts/RobotoMono-ThinItalic.ttf differ diff --git a/DRAW/fonts/wftfs-Regular.otf b/DRAW/fonts/wftfs-Regular.otf new file mode 100644 index 0000000..a1c417d Binary files /dev/null and b/DRAW/fonts/wftfs-Regular.otf differ diff --git a/DRAW/index.html b/DRAW/index.html new file mode 100644 index 0000000..1ad4469 --- /dev/null +++ b/DRAW/index.html @@ -0,0 +1,137 @@ + + + + + + + Wor(l)ds for the Future + + + + + + + + + + + + + + +
+ +

Atata

A




+ +

Liquid

L




+ +

Otherness

O




+ +

Eco-Swaraj

E




+ +

!?

M




+ +

Tense

T




+ +

Hope

H




+ +

Practical Vision

P




+ +

Resurgence

R




+ +

Undecidability

U





+ + + + + + +
+ + +
+

+ +

+
+ + + + +
+ + + WOR(L)DS FOR A FUTURE +

is a re-publishing project compiled by the first year students and mentoring team of the Master programme Experimental Publishing (XPUB) of the Piet Zwart Institute, Willem de Kooning Academy, as part of the Special Issue project #13.

The project aims to explore the re-publishing of the publication series Words for the Future through the students' discursive and artistic responses to the original collection. In the process, attention is given to make the content publicly accessible and usable both online and offline.

+
+ +
+ +
THIS IS THE COLOPHON
+ + + +
THIS IS THE LICENSES
+ + +
+ + + +
+ + +
+ + +
+ + + + +
+ + +
+ + +
+ + +
+ + +
+ + +
+ + + +
+ + + + + + + + + + + + + + + + + \ No newline at end of file diff --git a/DRAW/index_palette.html b/DRAW/index_palette.html new file mode 100644 index 0000000..9cedefe --- /dev/null +++ b/DRAW/index_palette.html @@ -0,0 +1,130 @@ + + + + + + + Wor(l)ds for the Future + + + + + + + + + + + + + + +
+ +

Atata

A




+ +

Liquid

L




+ +

Otherness

O




+ +

Eco-Swaraj

E




+ +

!?

M




+ +

Tense

T




+ +

Hope

H




+ +

Practical Vision

P




+ +

Resurgence

R




+ +

Undecidability

U





+ + + + + + +
+ + +
+

+ +

+
+ + + + +
+ + + WOR(L)DS FOR A FUTURE +

is a re-publishing project compiled by the first year students and mentoring team of the Master programme Experimental Publishing (XPUB) of the Piet Zwart Institute, Willem de Kooning Academy, as part of the Special Issue project #13.

The project aims to explore the re-publishing of the publication series Words for the Future through the students' discursive and artistic responses to the original collection. In the process, attention is given to make the content publicly accessible and usable both online and offline.

+
+ +
+ +
THIS IS THE COLOPHON
+ +
THIS IS THE LICENSES
+ + + +
+ + + +
+ + +
+ + +
+ + + + +
+ + +
+ + +
+ + +
+ + +
+ + +
+ + + +
+ + + + + + + + + + + \ No newline at end of file diff --git a/DRAW/index_tintin.html b/DRAW/index_tintin.html new file mode 100644 index 0000000..d65b1d5 --- /dev/null +++ b/DRAW/index_tintin.html @@ -0,0 +1,132 @@ + + + + + + + Wor(l)ds for the Future + + + + + + + + + + + + + + +
+ +

Atata

A

A

A

A

A




+ +

Liquid

L

L

L

L

L




+ +

Otherness

O

O

O

O

O




+ +

Eco-Swaraj

E

E

E

E

E




+ +

!?

M

M

M

M

M




+ +

Tense

T

T

T

T

T




+ +

Hope

H

H

H

H

H




+ +

Practical

P

P

P

P

P




+ +

Resurgence

R

R

R

R

R




+ +

Undecidability

U

U

U

U

U




+ + + + + + +
+ + +
+

+ +

+
+ + + + +
+ + + WOR(L)DS FOR A FUTURE +

is a re-publishing project compiled by the first year students and mentoring team of the Master programme Experimental Publishing (XPUB) of the Piet Zwart Institute, Willem de Kooning Academy, as part of the Special Issue project #13.

The project aims to explore the re-publishing of the publication series Words for the Future through the students' discursive and artistic responses to the original collection. In the process, attention is given to make the content publicly accessible and usable both online and offline.

+
+ +
+ +
THIS IS THE COLOPHON
+ + + +
THIS IS THE LICENSES
+ + +
+ + +
+ + +
+ +
+ + +
+ +
+ + +
+ +
+ + +
+ +
+ + +
+ +
+ + + +
+

+

+
+
+ + + + + + + + + + \ No newline at end of file diff --git a/DRAW/louisa.html b/DRAW/louisa.html new file mode 100644 index 0000000..521c227 --- /dev/null +++ b/DRAW/louisa.html @@ -0,0 +1,142 @@ + + + + + + + Wor(l)ds for the Future + + + + + + + + + + + + + + +
+ +

Atata

A




+ +

Liquid

L




+ +

Otherness

O




+ +

Eco-Swaraj

E




+ +

!?

M




+ +

Tense

T




+ +

Hope

H




+ +

Practical Vision

P




+ +

Resurgence

R




+ +

Undecidability

U





+ + + + + + +
+ + +
+

+ +

+
+ + + + +
+ + + WOR(L)DS FOR A FUTURE +

is a re-publishing project compiled by the first year students and mentoring team of the Master programme Experimental Publishing (XPUB) of the Piet Zwart Institute, Willem de Kooning Academy, as part of the Special Issue project #13.

The project aims to explore the re-publishing of the publication series Words for the Future through the students' discursive and artistic responses to the original collection. In the process, attention is given to make the content publicly accessible and usable both online and offline.

+
+ +
+ +
THIS IS THE COLOPHON
+ + + +
THIS IS THE LICENSES
+ + +
+
+

CHOOSE YOUR BRUSH

+ +
+
+
+
+
+ + +
+ + + + + + + + + + + + + + \ No newline at end of file diff --git a/DRAW/louisasketch/index.html b/DRAW/louisasketch/index.html new file mode 100644 index 0000000..e69de29 diff --git a/DRAW/louisasketch/main.js b/DRAW/louisasketch/main.js new file mode 100644 index 0000000..e69de29 diff --git a/DRAW/louisasketch/style.css b/DRAW/louisasketch/style.css new file mode 100644 index 0000000..e69de29 diff --git a/DRAW/palette_interface.css b/DRAW/palette_interface.css new file mode 100644 index 0000000..db72ccc --- /dev/null +++ b/DRAW/palette_interface.css @@ -0,0 +1,547 @@ +@media screen{ + + @font-face { + font-family: 'Roboto'; + src: url('fonts/Roboto-Regular.ttf'); +} + @font-face { + font-family: 'Robotobold'; + src: url('fonts/Roboto-Bold.ttf'); +} + @font-face { + font-family: 'Robotomedium'; + src: url('fonts/Roboto-Medium.ttf'); +} + @font-face { + font-family: 'WFTF'; + src: url('fonts/wftfs-Regular.otf'); +} + @font-face { + font-family: 'EBGaramonditalic'; + src: url('fonts/EBGaramond-MediumItalic.ttf'); +} + @font-face { + font-family: 'EBGaramonditalicsemi'; + src: url('fonts/EBGaramond-SemiBoldItalic.ttf'); +} + @font-face { + font-family: 'EBGaramondregular'; + src: url('fonts/EBGaramond-Medium.ttf'); +} + @font-face { + font-family: 'Brut'; + src: url('fonts/Brut_Grotesque-Text.otf'); +} + +:root{ + font-family:'Roboto'; + --div-title: 2em; + --regular: 20%; +} + +body{ + margin: 0; + padding: 0; + max-width: 100%; + min-height: 100vh; + background-image: url('assets/grid.png'); + background-size: 8vw; + overflow-y: hidden; + z-index: 100; +} + + + #atata { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + #symbolA { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolA2 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolL { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolO { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolE { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolM { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolT { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolH { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolP { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolR { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolU { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #Liquid { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + #Otherness { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + #Eco { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + #M { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + #Tense { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + #Hope { + font-family:'Roboto'; + font-size: 3em; + line-height: 1%; /*this has to be modified, in order to grab elements only where they are*/ + margin-left: 1%; + } + + #Practical{ + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + #Resurgence1{ + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + #Undecidability{ + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + text{ + font-family:'Roboto'; + font-size: 5em; + color: purple; + line-height: 100%; + margin-left: 1%; + } + + .colophon { + position: fixed; + bottom: 1%; + right: 1%; + } + + + + .about { + position: fixed; + top: 1%; + right: 1%; + } + + + p{ + font-family:'Roboto'; + line-height: 120%; + } + + #pic { + width: 100px; + } + + .pic { + width: 100px; +} + +#container{ + z-index: 1; + line-height: 100%; + -moz-user-select: none; + -khtml-user-select: none; + -webkit-user-select: none; + -ms-user-select: none; + user-select: none; +} + + +#background{ + z-index: 0; + } + +#map{ + width: 100%; + height: auto;} + + + +button{ + position: fixed; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + padding: 0.5vw 1.3em; + color: black; + font-size: 1.5vw; + text-decoration: none; + margin-bottom: 1.5vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); +} + +button1{ + position: fixed; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + padding: 0.5vw 1.3em; + color: black; + top: 1%; + left: 30px; + font-size: 1.5vw; + text-decoration: none; + margin-bottom: 1.5vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); +} + +button3{ + position: fixed; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + padding: 0.5vw 1.3em; + color: black; + bottom: 1%; + left: 90px; + font-size: 1.5vw; + text-decoration: none; + margin-bottom: 1.5vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); +} + +/*.container{ + z-index:15; + position: absolute; + overflow: scroll; + font-size: 2em; + line-height: 100%; + color: blue; + height: 97%; + width: 20%; + padding: 10px; + margin-top: 3.5%; + z-index: 10; + color: #242322; + position:fixed; + right: 0.01px; + border-radius: 10px; + top: 10px; + opacity: 1; + padding: 1em; + box-shadow: 0 0 40px #214c12; + background-color:#bbb9c17d; + overflow: scroll; + overflow-x: hidden; + resize: both; + visibility: hidden; + opacity: 0; +} + +.container2{ + z-index:15; + position: absolute; + overflow: scroll; + font-size: 2em; + line-height: 100%; + color: blue; + height: 97%; + width: 20%; + padding: 10px; + margin-top: 3.5%; + z-index: 10; + color: #242322; + position:fixed; + right: 0.01px; + border-radius: 10px; + top: 10px; + opacity: 1; + padding: 1em; + box-shadow: 0 0 40px #214c12; + background-color:#bbb9c17d; + overflow: scroll; + overflow-x: hidden; + resize: both; + visibility: hidden; + opacity: 0; + } + +.container3{ + z-index:15; + position: absolute; + overflow: scroll; + font-size: 2em; + line-height: 100%; + color: blue; + height: 97%; + width: 20%; + padding: 10px; + margin-top: 3.5%; + z-index: 10; + color: #242322; + position:fixed; + right: 0.01px; + border-radius: 10px; + top: 10px; + opacity: 1; + padding: 1em; + box-shadow: 0 0 40px #214c12; + background-color:#bbb9c17d; + overflow: scroll; + overflow-x: hidden; + resize: both; + visibility: hidden; + opacity: 0; + }*/ + +.container{ + height: 40%; + width: 60%; + font-size: var(--div-title); + padding: 10vw; + z-index: 10; + color: black; + position:fixed; + border-radius: 10px; + box-shadow: 0 0 40px #214c12; + background-color: rgba(255,255,255,0.95); + resize: both; + top: 50%; + left: 50%; + transform: translate(-50%, -50%); + overflow-x: hidden; + visibility: hidden; + } + +.container2{ + height: 40%; + width: 60%; + font-size: var(--div-title); + padding: 10vw; + z-index: 10; + color: black; + position:fixed; + border-radius: 10px; + box-shadow: 0 0 40px #214c12; + background-color: rgba(255,255,255,0.95); + resize: both; + top: 50%; + left: 50%; + transform: translate(-50%, -50%); + overflow-x: hidden; + visibility: hidden; + } + +.container3{ + height: 40%; + width: 60%; + font-size: var(--div-title); + padding: 10vw; + z-index: 10; + color: black; + position:fixed; + border-radius: 10px; + box-shadow: 0 0 40px #214c12; + background-color: rgba(255,255,255,0.95); + resize: both; + top: 50%; + left: 50%; + transform: translate(-50%, -50%); + overflow-x: hidden; + visibility: hidden; + } + + +.close{ + font-size: 2em; + margin-left: 1%; + /*position: relative;*/ + +} + + +.intro{ + height: 40%; + width: 60%; + padding: 10vw; + z-index: 10; + color: black; + position:fixed; + border-radius: 10px; + box-shadow: 0 0 40px #214c12; + background-color: rgba(255,255,255,0.95); + resize: both; + top: 50%; + left: 50%; + transform: translate(-50%, -50%); + overflow-x: hidden; + } + +.intro:hover{ + box-shadow: 0 0 40px blue; +} + +.enter{ + font-size: 1em;top: 50%; + left: 50%; + transform: translate(-50%, -50%);} + +.enter:hover{ + background-color: blue; + color: white; + } + + #close{ + position: absolute; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + color: black; + top: 2%; + right: 2%; + text-align: right; + font-size: 0.5vw; + text-decoration: none; + margin-bottom: 0.1vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); + } + + + + + + + + + + + +.palette{ + position: fixed; + bottom: 1%; + left: 1%; + border: solid 2px ; + padding: 1.3em; + font-size: 1vw; + text-decoration: none; + margin-bottom: 1.5vw; + border-radius: 40px; + + box-shadow: 0px 0px 10px 1px; + width: 18% + } + + .palette input, label, button{ + margin: .2vw 0; + } + .palette input{ + width: 30% + } + + #clear{ + height: .7%; + font-size: 0.8vw; + display: inline + } + + .palette label, button{ + margin-left: 1.5vw; + font-size: 1.5em; + display: inline + } \ No newline at end of file diff --git a/DRAW/scripts/dragdrop-tintin.js b/DRAW/scripts/dragdrop-tintin.js new file mode 100644 index 0000000..a0b6798 --- /dev/null +++ b/DRAW/scripts/dragdrop-tintin.js @@ -0,0 +1,269 @@ +//DRAG & DROPs + +draggable = new PlainDraggable(document.getElementById('atata')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolA')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolA2')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolA3')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolA4')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolA5')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Liquid')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolL')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolL2')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolL3')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolL4')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolL5')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Otherness')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +//draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolO')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolO2')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolO3')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolO4')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolO5')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Eco')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +//draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolE')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolE2')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolE3')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolE4')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolE5')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('M')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolM')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolM2')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolM3')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolM4')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolM5')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Tense')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolT')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolT2')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolT3')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolT4')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolT5')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Hope')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolH')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolH2')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolH3')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolH4')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolH5')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Practical')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolP')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolP2')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolP3')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolP4')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolP5')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; +draggable = new PlainDraggable(document.getElementById('Resurgence1')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolR')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolR2')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolR3')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolR4')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolR5')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Undecidability')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolU')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolU2')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolU3')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolU4')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolU5')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +//draggable = new PlainDraggable(document.getElementById('pic')); +//draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +//draggable = new PlainDraggable(document.getElementById('Resurgence')); +//draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +//draggable = new PlainDraggable(document.getElementById('pic2')); +//draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +//draggable = new PlainDraggable(document.getElementById('pic3')); +//draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + +//draggable = new PlainDraggable(document.getElementById('pic4')); +//draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; +//draggable = new PlainDraggable(document.getElementById('pic5')); +//draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; +//draggable = new PlainDraggable(document.getElementById('pic6')); +//draggable.containment = {left: 0, top: 0, width: '1000%', height: '100%'} +// draggable.snap = {step: 30}; + + + diff --git a/DRAW/scripts/dragdrop.js b/DRAW/scripts/dragdrop.js new file mode 100644 index 0000000..841fe6a --- /dev/null +++ b/DRAW/scripts/dragdrop.js @@ -0,0 +1,114 @@ +//DRAG & DROPs + +draggable = new PlainDraggable(document.getElementById('atata')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolA')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolA')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Liquid')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolL')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Otherness')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +//draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolO')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Eco')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +//draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolE')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('M')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolM')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Tense')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolT')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Hope')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolH')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Practical')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolP')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Resurgence1')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolR')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('Undecidability')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +draggable = new PlainDraggable(document.getElementById('symbolU')); +draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +//draggable = new PlainDraggable(document.getElementById('pic')); +//draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +//draggable = new PlainDraggable(document.getElementById('Resurgence')); +//draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +//draggable = new PlainDraggable(document.getElementById('pic2')); +//draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +//draggable = new PlainDraggable(document.getElementById('pic3')); +//draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + +//draggable = new PlainDraggable(document.getElementById('pic4')); +//draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; +//draggable = new PlainDraggable(document.getElementById('pic5')); +//draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; +//draggable = new PlainDraggable(document.getElementById('pic6')); +//draggable.containment = {left: 0, top: 0, width: '1000%', height: '1000%'} +// draggable.snap = {step: 30}; + + + diff --git a/DRAW/scripts/louisasketch.js b/DRAW/scripts/louisasketch.js new file mode 100644 index 0000000..a40233a --- /dev/null +++ b/DRAW/scripts/louisasketch.js @@ -0,0 +1,69 @@ +let checkbox = document.querySelector('input[type="checkbox"]:checked'); +const colorInput = document.getElementById('color'); +const colorFill = document.getElementById('colorFill'); +const weight = document.getElementById('weight'); +const clear = document.getElementById('clear'); +var inn = document.getElementById('inn'); +const fontSize= document.getElementById('fontSize'); + +const paths = []; +let currentPath = []; + +var line = false; + +function setup() { + var cnv = createCanvas(window.innerWidth, window.innerHeight); + cnv.position(0,0) + cnv.background(0,0,0,0); + cnv.style('z-index','-10'); + +} + +function draw() { + + + fill(0,255,255) + noFill(); //active to create only lines e co, deActive to create 'islands' + + //|stroke, text, ellipse, vertex == false + + if(mouseIsPressed||document.querySelector('.black').checked){ + var point = { + x: mouseX, + y: mouseY, + color: colorInput.value, + weight: weight.value, + inpu: inn.value, + size: fontSize.value + }; + currentPath.push(point); + } + + paths.forEach(path => { + beginShape(); + + path.forEach(point => { + stroke(point.color); //always active + strokeWeight(point.weight); //always active + }); + + endShape(); + }); +} + +function mousePressed() { + currentPath = []; + paths.push(currentPath); +} + +function inn(){ + message += key; +} +//code to implement: +//https://stackoverflow.com/questions/40382194/if-statement-when-checkbox-is-checked +//https://stackoverflow.com/questions/11599666/get-the-value-of-checked-checkbox + +if document.querySelector('.black').checked{ + + stroke(color); +} \ No newline at end of file diff --git a/DRAW/scripts/plain-draggable.min.js b/DRAW/scripts/plain-draggable.min.js new file mode 100644 index 0000000..8615cf0 --- /dev/null +++ b/DRAW/scripts/plain-draggable.min.js @@ -0,0 +1,2 @@ +/*! PlainDraggable v2.5.12 (c) anseki https://anseki.github.io/plain-draggable/ */ +var PlainDraggable=function(t){var e={};function n(r){if(e[r])return e[r].exports;var o=e[r]={i:r,l:!1,exports:{}};return t[r].call(o.exports,o,o.exports,n),o.l=!0,o.exports}return n.m=t,n.c=e,n.d=function(t,e,r){n.o(t,e)||Object.defineProperty(t,e,{enumerable:!0,get:r})},n.r=function(t){"undefined"!=typeof Symbol&&Symbol.toStringTag&&Object.defineProperty(t,Symbol.toStringTag,{value:"Module"}),Object.defineProperty(t,"__esModule",{value:!0})},n.t=function(t,e){if(1&e&&(t=n(t)),8&e)return t;if(4&e&&"object"==typeof t&&t&&t.__esModule)return t;var r=Object.create(null);if(n.r(r),Object.defineProperty(r,"default",{enumerable:!0,value:t}),2&e&&"string"!=typeof t)for(var o in t)n.d(r,o,function(e){return t[e]}.bind(null,o));return r},n.n=function(t){var e=t&&t.__esModule?function(){return t.default}:function(){return t};return n.d(e,"a",e),e},n.o=function(t,e){return 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document.querySelector(".colophon"); +const container2 = document.querySelector(".container2"); +const close2 = document.querySelector(".close2"); +const button3 = document.querySelector(".licenses"); +const container3 = document.querySelector(".container3"); +const close3 = document.querySelector(".close3"); + +button.addEventListener('click', () =>{ +container.style.visibility = "visible"; +container.style.opacity = 1; + +}); + +button2.addEventListener('click', () =>{ +container2.style.visibility = "visible"; +container2.style.opacity = 1; + +}); + +button3.addEventListener('click', () =>{ +container3.style.visibility = "visible"; +container3.style.opacity = 1; + +}); + + +button.addEventListener('click', () =>{ +container.style.visibility = "visible"; +container.style.opacity = 1; + +}); + +close.addEventListener('click', () =>{ +container.style.visibility = "hidden"; +container.style.opacity = 0; + +}); +close2.addEventListener('click', () =>{ +container2.style.visibility = "hidden"; +container2.style.opacity = 0; + +}); +close3.addEventListener('click', () =>{ +container3.style.visibility = "hidden"; +container3.style.opacity = 0; +}); + +enter.addEventListener('click', () =>{ +intro.style.visibility = "hidden"; +intro.style.opacity = 0; +}); + diff --git a/DRAW/scripts/script.js b/DRAW/scripts/script.js new file mode 100644 index 0000000..223447c --- /dev/null +++ b/DRAW/scripts/script.js @@ -0,0 +1,61 @@ +function ClearData() { + inn.value=''; +} + +const button = document.querySelector(".about"); +const container = document.querySelector(".container"); +const close = document.querySelector(".close"); +const enter = document.querySelector(".enter"); +const intro = document.querySelector(".intro"); +const button2 = document.querySelector(".colophon"); +const container2 = document.querySelector(".container2"); +const close2 = document.querySelector(".close2"); +const button3 = document.querySelector(".licenses"); +const container3 = document.querySelector(".container3"); +const close3 = document.querySelector(".close3"); + +button.addEventListener('click', () =>{ +container.style.visibility = "visible"; +container.style.opacity = 1; + +}); + +button2.addEventListener('click', () =>{ +container2.style.visibility = "visible"; +container2.style.opacity = 1; + +}); + +button3.addEventListener('click', () =>{ +container3.style.visibility = "visible"; +container3.style.opacity = 1; + +}); + + +button.addEventListener('click', () =>{ +container.style.visibility = "visible"; +container.style.opacity = 1; + +}); + +close.addEventListener('click', () =>{ +container.style.visibility = "hidden"; +container.style.opacity = 0; + +}); +close2.addEventListener('click', () =>{ +container2.style.visibility = "hidden"; +container2.style.opacity = 0; + +}); +close3.addEventListener('click', () =>{ +container3.style.visibility = "hidden"; +container3.style.opacity = 0; +}); + +enter.addEventListener('click', () =>{ +intro.style.visibility = "hidden"; +intro.style.opacity = 0; +}); + diff --git a/DRAW/scripts/sketch.js b/DRAW/scripts/sketch.js new file mode 100644 index 0000000..3bafa68 --- /dev/null +++ b/DRAW/scripts/sketch.js @@ -0,0 +1,69 @@ + +const colorInput = document.getElementById('color'); +const colorFill = document.getElementById('colorFill'); +const weight = document.getElementById('weight'); +const clear = document.getElementById('clear'); +var inn = document.getElementById('inn'); +const fontSize= document.getElementById('fontSize'); + +const paths = []; +let currentPath = []; + +var line = false; + +function setup() { + var cnv = createCanvas(window.innerWidth, window.innerHeight); + cnv.position(0,0) + cnv.background(0,0,0,0); + cnv.style('z-index','-10'); +} + +function draw() { + + + fill(0,255,255) + noFill(); //active to create only lines e co, deActive to create 'islands' + + + if(mouseIsPressed){ + var point = { + x: mouseX, + y: mouseY, + color: colorInput.value, + weight: weight.value, + inpu: inn.value, + size: fontSize.value + }; + currentPath.push(point); + } + + paths.forEach(path => { + beginShape(); + + path.forEach(point => { + stroke(point.color); //always active + strokeWeight(point.weight); //always active + + text(point.inpu ,point.x, point.y) + textSize(point.size); + + rect(point.x, point.y, 3,3); + + ellipse(point.x, point.y, 3); + + vertex(point.x, point.y); + }); + + endShape(); + }); +} + +function mousePressed() { + currentPath = []; + paths.push(currentPath); +} + +function inn(){ + message += key; +} + diff --git a/DRAW/style.css b/DRAW/style.css new file mode 100644 index 0000000..b6dc63b --- /dev/null +++ b/DRAW/style.css @@ -0,0 +1,460 @@ +@media screen{ + + @font-face { + font-family: 'Roboto'; + src: url('fonts/Roboto-Regular.ttf'); +} + @font-face { + font-family: 'Robotobold'; + src: url('fonts/Roboto-Bold.ttf'); +} + @font-face { + font-family: 'Robotomedium'; + src: url('fonts/Roboto-Medium.ttf'); +} + @font-face { + font-family: 'WFTF'; + src: url('fonts/wftfs-Regular.otf'); +} + @font-face { + font-family: 'EBGaramonditalic'; + src: url('fonts/EBGaramond-MediumItalic.ttf'); +} + @font-face { + font-family: 'EBGaramonditalicsemi'; + src: url('fonts/EBGaramond-SemiBoldItalic.ttf'); +} + @font-face { + font-family: 'EBGaramondregular'; + src: url('fonts/EBGaramond-Medium.ttf'); +} + @font-face { + font-family: 'Brut'; + src: url('fonts/Brut_Grotesque-Text.otf'); +} + +:root{ + font-family:'Roboto'; + --div-title: 2em; + --regular: 20%; +} + +body{ + margin: 0; + padding: 0; + max-width: 100%; + min-height: 100vh; + background-image: url('assets/grid.png'); + background-size: 8vw; + overflow-y: hidden; + overflow-x: hidden; + z-index: 100; +} + + + #atata { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + #symbolA { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolA2 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolL { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolO { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolE { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolM { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolT { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolH { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolP { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolR { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolU { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #Liquid { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + #Otherness { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + #Eco { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + #M { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + #Tense { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + #Hope { + font-family:'Roboto'; + font-size: 3em; + line-height: 1%; /*this has to be modified, in order to grab elements only where they are*/ + margin-left: 1%; + } + + #Practical{ + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + #Resurgence1{ + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + #Undecidability{ + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + + text{ + font-family:'Roboto'; + font-size: 5em; + color: purple; + line-height: 100%; + margin-left: 1%; + } + + .colophon { + position: fixed; + bottom: 1%; + right: 1%; + } + + .licenses { + position: fixed; + bottom: 1%; + left: 1%; + } + + .about { + position: fixed; + top: 1%; + right: 1%; + } + + + p{ + font-family:'Roboto'; + line-height: 120%; + } + + #pic { + width: 100px; + } + + .pic { + width: 100px; +} + +#container{ + z-index: 1; + line-height: 100%; + -moz-user-select: none; + -khtml-user-select: none; + -webkit-user-select: none; + -ms-user-select: none; + user-select: none; +} + + +#background{ + z-index: 0; + } + +#map{ + width: 100%; + height: auto;} + + + +button{ + position: fixed; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + padding: 0.5vw 1.3em; + color: black; + font-size: 1.5vw; + text-decoration: none; + margin-bottom: 1.5vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); +} + +button1{ + position: fixed; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + padding: 0.5vw 1.3em; + color: black; + top: 1%; + left: 30px; + font-size: 1.5vw; + text-decoration: none; + margin-bottom: 1.5vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); +} + +button3{ + position: fixed; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + padding: 0.5vw 1.3em; + color: black; + bottom: 1%; + left: 90px; + font-size: 1.5vw; + text-decoration: none; + margin-bottom: 1.5vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); +} + +.container{ + height: 40%; + width: 60%; + font-size: var(--div-title); + padding: 10vw; + z-index: 10; + color: black; + position:fixed; + border-radius: 10px; + box-shadow: 0 0 40px #214c12; + background-color: rgba(255,255,255,0.95); + resize: both; + top: 50%; + left: 50%; + transform: translate(-50%, -50%); + overflow-x: hidden; + visibility: hidden; + } + +.container2{ + height: 40%; + width: 60%; + font-size: var(--div-title); + padding: 10vw; + z-index: 10; + color: black; + position:fixed; + border-radius: 10px; + box-shadow: 0 0 40px #214c12; + background-color: rgba(255,255,255,0.95); + resize: both; + top: 50%; + left: 50%; + transform: translate(-50%, -50%); + overflow-x: hidden; + visibility: hidden; + } + +.container3{ + height: 40%; + width: 60%; + font-size: var(--div-title); + padding: 10vw; + z-index: 10; + color: black; + position:fixed; + border-radius: 10px; + box-shadow: 0 0 40px #214c12; + background-color: rgba(255,255,255,0.95); + resize: both; + top: 50%; + left: 50%; + transform: translate(-50%, -50%); + overflow-x: hidden; + visibility: hidden; + } + + +.close{ + font-size: 2em; + margin-left: 1%; + /*position: relative;*/ + +} + + +.intro{ + height: 40%; + width: 60%; + padding: 10vw; + z-index: 10; + color: black; + position:fixed; + border-radius: 10px; + box-shadow: 0 0 40px #214c12; + background-color: rgba(255,255,255,0.95); + resize: both; + top: 50%; + left: 50%; + transform: translate(-50%, -50%); + overflow-x: hidden; + } + +.intro:hover{ + box-shadow: 0 0 40px blue; +} + +.enter{ + font-size: 1em;top: 50%; + left: 50%; + transform: translate(-50%, -50%);} + +.enter:hover{ + background-color: blue; + color: white;} + + #close{ + position: absolute; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + color: black; + top: 2%; + right: 2%; + text-align: right; + font-size: 0.5vw; + text-decoration: none; + margin-bottom: 0.1vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); + } + + + + +.palette{ + position: fixed; + bottom: 1%; + left: 1%; + border: solid 2px ; + padding: 1.3em; + font-size: 1vw; + text-decoration: none; + margin-bottom: 1.5vw; + border-radius: 40px; + + box-shadow: 0px 0px 10px 1px; + width: 18% + } + + .palette input, label, button{ + margin: .2vw 0; + } + .palette input{ + width: 30% + } + + #clear{ + height: .7%; + font-size: 0.8vw; + display: inline + } + + .palette label, button{ + margin-left: 1.5vw; + font-size: 1.5em; + display: inline + } \ No newline at end of file diff --git a/DRAW/style_tintin.css b/DRAW/style_tintin.css new file mode 100644 index 0000000..2b7bf1d --- /dev/null +++ b/DRAW/style_tintin.css @@ -0,0 +1,659 @@ +@media screen{ + + @font-face { + font-family: 'Roboto'; + src: url('fonts/Roboto-Regular.ttf'); +} + @font-face { + font-family: 'Robotobold'; + src: url('fonts/Roboto-Bold.ttf'); +} + @font-face { + font-family: 'Robotomedium'; + src: url('fonts/Roboto-Medium.ttf'); +} + @font-face { + font-family: 'WFTF'; + src: url('fonts/wftfs-Regular.otf'); +} + @font-face { + font-family: 'EBGaramonditalic'; + src: url('fonts/EBGaramond-MediumItalic.ttf'); +} + @font-face { + font-family: 'EBGaramonditalicsemi'; + src: url('fonts/EBGaramond-SemiBoldItalic.ttf'); +} + @font-face { + font-family: 'EBGaramondregular'; + src: url('fonts/EBGaramond-Medium.ttf'); +} + @font-face { + font-family: 'Brut'; + src: url('fonts/Brut_Grotesque-Text.otf'); +} + +:root{ + font-family:'Roboto'; + --div-title: 2em; + --regular: 20%; +} + +body{ + margin: 0; + padding: 0; + max-width: 100%; + min-height: 100vh; + background-image: url('assets/grid.png'); + background-size: 8vw; + overflow-y: hidden; + z-index: 100; +} + + + #symbolA { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + max-width: 10%; + } + + #symbolA2 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + max-width: 10%; + } + + #symbolA3 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + max-width: 10%; + } + #symbolA4 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + max-width: 10%; + } + #symbolA5 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + max-width: 10%; + } + + #symbolL { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolL2 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolL3 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolL4 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolL5 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + + #symbolO { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolO2 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolO3 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolO4 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolO5 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolE { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolE2 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolE3 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolE4 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolE5 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolM { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolM2 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolM3 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolM4 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolM5 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolT { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolT2 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolT3 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolT4 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolT5 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolH { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolH2 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolH3 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolH4 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolH5 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolP { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolP2 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolP3 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolP4 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolP5 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolR { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolR2 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolR3 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolR4 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolR5 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolU { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolU2 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolU3 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolU4 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #symbolU5 { + font-family:'WFTF'; + font-size: 3em; + margin-left: 15%; + } + #Liquid { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + max-width: 10%; + margin-left: 1%; + } + + #Otherness { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + max-width: 10%; + margin-left: 1%; + } + #Eco { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + max-width: 10%; + margin-left: 1%; + } + + #M { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + max-width: 10%; + margin-left: 1%; + } + + #atata { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + max-width: 10%; + margin-left: 1%; + } + + #Tense { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + max-width: 10%; + margin-left: 1%; + } + + #Hope { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + max-width: 10%; + margin-left: 1%; + } + + #Practical{ + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + max-width: 10%; + margin-left: 1%; + } + + #Resurgence1{ + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + max-width: 10%; + margin-left: 1%; + } + + #Undecidability{ + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + max-width: 10%; + margin-left: 1%; + } + + text{ + font-family:'Roboto'; + font-size: 5em; + color: purple; + line-height: 100%; + margin-left: 1%; + } + + .colophon { + position: fixed; + bottom: 1%; + right: 1%; + } + + .licenses { + display: none; + position: fixed; + bottom: 1%; + left: 1%; + } + + .about { + position: fixed; + top: 1%; + right: 1%; + } + + + p{ + font-family:'Roboto'; + line-height: 120%; + } + + #pic { + width: 100px; + } + + .pic { + width: 100px; +} + +#container{ + z-index: 1; + line-height: 100%; + -moz-user-select: none; + -khtml-user-select: none; + -webkit-user-select: none; + -ms-user-select: none; + user-select: none; +} + + +#background{ + z-index: 0; + } + +#map{ + width: 100%; + height: auto; + } + + +button{ + position: fixed; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + padding: 0.5vw 1.3em; + color: black; + font-size: 1.5vw; + text-decoration: none; + margin-bottom: 1.5vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); + } + +button1{ + position: fixed; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + padding: 0.5vw 1.3em; + color: black; + top: 1%; + left: 30px; + font-size: 1.5vw; + text-decoration: none; + margin-bottom: 1.5vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); + } + +button3{ + position: fixed; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + padding: 0.5vw 1.3em; + color: black; + bottom: 1%; + left: 90px; + font-size: 1.5vw; + text-decoration: none; + margin-bottom: 1.5vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); + } + +.container{ + height: 40%; + width: 60%; + font-size: var(--div-title); + padding: 10vw; + z-index: 10; + color: black; + position:fixed; + border-radius: 10px; + box-shadow: 0 0 40px #214c12; + background-color: rgba(255,255,255,0.95); + resize: both; + top: 50%; + left: 50%; + transform: translate(-50%, -50%); + overflow-x: hidden; + visibility: hidden; + } + +.container2{ + height: 40%; + width: 60%; + font-size: var(--div-title); + padding: 10vw; + z-index: 10; + color: black; + position:fixed; + border-radius: 10px; + box-shadow: 0 0 40px #214c12; + background-color: rgba(255,255,255,0.95); + resize: both; + top: 50%; + left: 50%; + transform: translate(-50%, -50%); + overflow-x: hidden; + visibility: hidden; + } + +.container3{ + height: 40%; + width: 60%; + font-size: var(--div-title); + padding: 10vw; + z-index: 10; + color: black; + position:fixed; + border-radius: 10px; + box-shadow: 0 0 40px #214c12; + background-color: rgba(255,255,255,0.95); + resize: both; + top: 50%; + left: 50%; + transform: translate(-50%, -50%); + overflow-x: hidden; + visibility: hidden; + } + + +.close{ + font-size: 2em; + margin-left: 1%; + /*position: relative;*/ + +} + + +.intro{ + height: 40%; + width: 60%; + padding: 10vw; + z-index: 10; + color: black; + position:fixed; + border-radius: 10px; + box-shadow: 0 0 40px #214c12; + background-color: rgba(255,255,255,0.95); + resize: both; + top: 50%; + left: 50%; + transform: translate(-50%, -50%); + overflow-x: hidden; + } + +.intro:hover{ + box-shadow: 0 0 40px blue; +} + +.enter{ + font-size: 1em;top: 50%; + left: 50%; + transform: translate(-50%, -50%);} + +.enter:hover{ + background-color: blue; + color: white;} + + #close{ + position: absolute; + -webkit-user-select: none; + -moz-user-select: none; + -ms-user-select: none; + user-select: none; + display: inline-block; + color: black; + top: 2%; + right: 2%; + text-align: right; + font-size: 0.5vw; + text-decoration: none; + margin-bottom: 0.1vw; + background-color: transparent; + border-radius: 40px; + -webkit-box-shadow: 15px 15px 15px 15px; + box-shadow: 0px 0px 15px 8px rgba(0,0,0,0); + } + + .palette { + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + } + .settings { + margin-top: 100px; + position: fixed; + bottom: 15%; + } + +.settings .palette button{ + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + margin-left: 1%; + margin-top: 2%; + } +.settings .palette button p{ + font-family:'Roboto'; + font-size: 3em; + line-height: 100%; + } +.tools .palette{ + font-size: 3em; + margin-left: 1%; + margin-top: 2%; + line-height: 100%; + } +} + \ No newline at end of file diff --git a/ECO-SWARAJ/Blackwhite/001dither.png b/ECO-SWARAJ/Blackwhite/001dither.png new file mode 100644 index 0000000..8d79460 Binary files /dev/null and b/ECO-SWARAJ/Blackwhite/001dither.png differ diff --git a/ECO-SWARAJ/Blackwhite/002dither.png b/ECO-SWARAJ/Blackwhite/002dither.png new file mode 100644 index 0000000..ed2fb29 Binary files /dev/null and b/ECO-SWARAJ/Blackwhite/002dither.png differ diff --git a/ECO-SWARAJ/Blackwhite/003dither.png b/ECO-SWARAJ/Blackwhite/003dither.png new file mode 100644 index 0000000..95f36f3 Binary files /dev/null and b/ECO-SWARAJ/Blackwhite/003dither.png differ diff --git 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right:-20; +} + +a{ + color:#FCFF00; +} +a:hover{ + color:white; +} +a.link:hover{ + color:white; +} +a.link{ + font-family: wfdtf; + color: #10FF00; + font-size: 20pt; +} +a.link2{ + font-family: wfdtf; + color: #10FF00; +} + +html { + overflow: -moz-scrollbars-vertical; + overflow-y: scroll; +} + +body{ + background-image: url(005blue.png); + background-color:#000000; + background-position: top; + background-repeat:no-repeat;; + background-size: cover; + color:#FFFFFF; + font-family:arial; +} + +.cursor{ + cursor:url(cursor.png), auto; +} + +#upper{ + width: 90%; + height: 250px; + color: #FFFFFF; + float: left; +} +#uppersec{ + width: 90%; + height: 150px; + float: left; + color: #D300FF; + text-align:left; +} +#uppersym{ + width: 10%; + height: 400px; + float: left; + font-size:20pt; +} +#sympad{ + padding:10%; + width:90%; + height:90%; +} +.h1{ + font-family: "Lucida Console", Courier, monospace; + font-size: 80pt; + text-align: left; + float:left; + color:#00FCFF; +} +.titlesym{ + font-family: wfdtf; + color: #00FCFF; + font-size:80pt; + float:left; + line-height:95%; + +} +#block2{ + width:30%; + height:1000px; + float:left; +} +#intro{ + width: 100%; + height: 350px; + float:left; + font-size: 15pt; + text-transform: uppercase; + font-family: "Lucida Console", Courier, monospace; + overflow: scroll; + color:#FFFFFF; +} +#padintro{ + padding-left: 15px; +} +#block2imgsize{ + height:600px; +} +#imgsize{ + +} +.002{ + width:0%; + height:0%; +} + +#toggleImage{ + cursor: pointer; + width: 100%; + max-height:600px; + float:left; +} +#space{ + height:1000px; + width:2%; + float:left; +} +#maintext{ + width: 68%; + height: 1000px; + float:left; + columns: 2; + overflow: scroll; + text-align:justify; + font-size: 15pt; + line-height: 150%; +} +#padmain{ + padding-left: 15px; + +} +#figure{ + width:100%; + display:block; + background:#FFFFFF; +} +#fig1{ + font-size: 10pt; +} +#space2{ + width:100%; + height:100px; + float:left; +} +.lineright { + border-right: 1px solid #00FCFF; + padding: 0 10px; +} +h4{ + font-size:18pt; + color: #FFFFFF; + font-family: "Lucida Console", Courier, monospace; +} +#references{ + width:50%; + float:left; + height:500px; + overflow: scroll; + overflow-wrap: break-word; + word-wrap: break-word; + padding-top:10px; + columns:2; +} +#padref{ + padding: 15px; +} +#bio{ + width:50%; + height:500px; + overflow: scroll; + float:left; + padding-top:10px; +} +#padbio{ + padding: 15px; +} +#footnotes{ + width:100%; + float:left; + height:600px; + overflow: scroll; + overflow-wrap: break-word; + word-wrap: break-word; + columns:3; + padding: 15px; +} +#padfoot{ + padding: 15px; +} +#counter{ + float: left; + +} +@media only screen and (max-width: 3000px){ + #padbio { + column-count:2; + } +} +@media only screen and (max-width: 1000px){ + #padbio { + column-count:1; + } +} +@media only screen and (max-width: 1000px){ + #intro{ + height: 600px; + } +} +@media only screen and (max-width: 1000px){ + #maintext{ + column-count:1; + } +} +@media only screen and (max-width: 1000px){ + #block2imgsize{ + height:400px; + } +} +@media only screen and (max-width: 1000px){ + #references{ + columns:1; + } +} \ No newline at end of file diff --git a/ECO-SWARAJ/Blackwhite/Fonts/wftfs-Regular.otf b/ECO-SWARAJ/Blackwhite/Fonts/wftfs-Regular.otf new file mode 100644 index 0000000..a1c417d Binary files /dev/null and b/ECO-SWARAJ/Blackwhite/Fonts/wftfs-Regular.otf differ diff --git a/ECO-SWARAJ/Blackwhite/cursor.png b/ECO-SWARAJ/Blackwhite/cursor.png new file mode 100644 index 0000000..23344d9 Binary files /dev/null and b/ECO-SWARAJ/Blackwhite/cursor.png differ diff --git a/ECO-SWARAJ/Blackwhite/image1 black.png b/ECO-SWARAJ/Blackwhite/image1 black.png new file mode 100644 index 0000000..7ac4bc5 Binary files /dev/null and b/ECO-SWARAJ/Blackwhite/image1 black.png differ diff --git a/ECO-SWARAJ/Blackwhite/index.html b/ECO-SWARAJ/Blackwhite/index.html new file mode 100644 index 0000000..c9419db --- /dev/null +++ b/ECO-SWARAJ/Blackwhite/index.html @@ -0,0 +1,176 @@ + + + + + + + ECO SWARAJ//BLACKWHITE + + + + +
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ECO-SWARAJ

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Original written by Ashish Kothari, environmentalist
+Original artistic response from Rodrigo Sobarzo, performance artist
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You have made a choice out of three; Black and White. This influences the layout of this page. The most chosen layout will be the printed version. As a group, a small community on the internet you will affect the real life version of this article.

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Eco-Swaraj is also about making choices. It gives three examples of self-decision making systems in communities spread around India.

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Images: Andes seen from airplane, october 2017

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In response to the abysmal socio-economic inequities and catastrophic ecological collapse we are witnessing globally, powerful resistance and alternative movements are emerging around the world L A. These are articulating and promoting practices and worldviews relating to achieving human and planetary wellbeing in just and sustainable ways. Some of these are re-affirmations of continuing lifestyles and livelihoods that have lived in relative harmony with the earth for millennia or centuries. Others O are new initiatives emerging from resistance movements against the destructive nature of capitalism, industrialism, patriarchy, statism, and other forms of power concentration.

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Though incredibly diverse in their settings and processes, these initiatives display some common features that enable the emergence of a general set of principles and values, forming a broad ideological framework, that may be applicable beyond the specific sites where they are operational. One of these features is the assertion of autonomy; or self-governance; or self-determination. This is most prominently articulated in numerous movements of indigenous peoples around the world L A, culminating globally in the United Nations Declaration of the Rights of Indigenous Peoples. The Zapatista and Kurdish autonomy movements L are also based on the principle of autonomy.

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One such a framework that has emerged from grassroots experience in India, with significant global resonance, is eco-swaraj. The term swaraj, simplistically translated as self-rule, stems from ancient Indian notions and practices of people being involved in decision-making in local assemblies A. It became popular and widely articulated during India’s Independence struggle against the British colonial power, but it is important to realize that its use to mean ‘national independence’ is a very limited interpretation. MK Gandhi1 , in fact, in numerous writings including in particular Hind Swaraj, attempted to give it a much deeper and wider meaning. Encompassing individual to community to human autonomy and freedom, integrally linking to the ethics of responsibility towards others O (including the rest of nature), and to the spiritual deepening necessary for ethically just and self-restrained behaviour2.

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Autonomy and Self-rule

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Equally, though, the notion of eco-swaraj emerges from grassroots praxis P 3. This is illustrated in the following examples from three communities in different parts of India:

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1. “Our government is in Mumbai and Delhi, but we are the government in our village” , Mendha-Lekha village, Maharashtra.4

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The village of Mendha-Lekha, in Gadchiroli district of Maharashtra state, has a population of about five hundred Gond Adivasi people, indigenous people who in India are also called ‘tribals’. About thirty years ago these people were part of a resistance movement against a large dam that would have displaced them and submerged their forests A. This mobilisation also led them to consider forms of organisation that could help deal with other problems and issues. They established their ‘gram sabha’ (village assembly) as the primary organ of decision-making, and after considerable discussion adopted the principle of consensus. They realised that voting and the majoritarianism that comes with it can be detrimental to village unity and the interests of minorities. The villagers do not allow any government agency or politicians M to take decisions on their behalf, nor may a village or tribal chief do so on his/her own. This is part of a ‘tribal self-rule’ campaign underway in some parts of India, though few villages have managed to achieve complete self-rule as it is a process that requires sustained effort, natural leadership, and the ability to resolve disputes – features that are not common. Both in Mendha-Lekha and at several other sites, communities are now also using the recent legislation that recognises their communal rights to govern and use forests, along with constitutional provisions of decentralisation, to assert varying levels of swaraj.

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2. “These hills and forests belong to Niyamraja, they are the basis of our survival and livelihoods, we will not allow any company to take them away from us”, Dongria Kondh adivasis (indigenous people), Odisha.

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The ancient indigenous adivasi group of Dongria Kondh, was catapulted into national and global limelight when the UK-based transnational corporation (TNC) Vedanta proposed to mine bauxite in the hills where they live. The Dongria Kondh pointed out that these hills were their sacred territory A, and also crucial for their livelihoods and cultural existence. When the state gave its permission for the corporation to begin mining, the Dongria Kondh, supported by civil society groups, took the matter to various levels of government, the courts, and even the shareholders of Vedanta Corporation in London. The Indian Supreme Court ruled that as a culturally important site for the Dongria Kondh, the government required the peoples’ approval. This is a crucial order that established the right of consent (or rejection) to affected communities, somewhat akin to the global indigenous peoples’ demand for ‘free and prior informed consent’ (FPIC) now enshrined in the UN Declaration on the Rights of Indigenous Peoples. At village assemblies that were subsequently held, the Dongria Kondh unanimously rejected the mining proposal and have since then stood firm against renewed efforts to convince them otherwise, despite increased armed police presence and intimidation tactics by the state.

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3. “Seeds are the core of our identity, our culture, our livelihoods, they are our heritage and no government agency or corporation can control them”, Dalit women of Deccan Development Society, Telangana.

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In India’s unique caste system (mostly amongst Hindus), where people are born into a relatively unchanging hierarchical ordering of castes, Dalits are at the bottom of the run, oppressed and exploited in multiple ways. As Dalit women, there is double oppression in a society that is also highly patriarchal. And as small and marginal farmers, they are also economically marginalised. In such a situation, over the last three decades, these women R have thrown off their socially oppressed status by achieving a remarkable revolution in sustainable farming, alternative media, and collective mobilisation. Assisted by some civil society activists, they collectivized several agricultural operations, revived traditional seed diversity, went completely organic L A, created grain banks for the poor to access, linked farmer producers to nearby consumers (through a healthy foods restaurant in a nearby town), fought for land rights for women, took up an influential role in the local Agricultural Science Centre (a government set-up), and in many other ways achieved food sovereignty and security. Thus empowered, they also set up a community radio station and a filmmaking unit, to generate their own media content. As part of several national and global networks, they have also participated in policy forums and civil society exchanges. Where once they were shunned as Dalits, marginalised as women, and poverty-stricken as marginal farmers with few productive assets, they are now assertive, self-confident controllers of their own destiny, advocates for local to global policy change, and path breakers in many other respects.

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These and numerous other examples across India, including in urban areas such as the movements for the ‘right to the city’, like participatory budgeting, or area sabha (neighbourhood assembly) empowerment as an urban parallel to gram sabha (village assembly) self-governance, show the potential of eco-swaraj.5 Practices of eco-swaraj (as also others O in the world6) display an approach that respects the limits of the Earth and the rights of other species, while pursuing the core values of social justice and equity T. With its strong democratic H and egalitarian impulse, eco-swaraj seeks to empower every person to be a part of decision-making and requires a holistic vision of human wellbeing - that encompasses physical, material, socio-cultural, intellectual, and spiritual dimensions. Instead of states and corporations, eco-swaraj places collectives and communities at the centre of governance and economy. Eco-swaraj is grounded in real-life initiatives across the Indian subcontinent, encompassing sustainable farming, fisheries and pastoralism, food and water sovereignty, decentralized energy production, direct local governance, community health, alternative learning R and education, community-controlled media and communications, localization of economies, gender and caste justice, rights of differently abled and multiple sexualities, and many others O.

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Radical Ecological Democracy

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Based on such grassroots experience P and interactions with activist-thinkers and practitioners across India, a conceptual framework called Radical Ecological Democracy H (RED) has emerged in the last few years as a somewhat more systematic or structured reworking of eco-swaraj. While it arose in India, it quickly found resonance in many other parts of the world as part of a process of generating Peoples’ Sustainability Treaties for the Rio+20 Conference.7

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Eco-swaraj or RED encompasses the following five interlocking spheres (thematic composites of key elements), which have evolved through a process of bringing together alternative initiatives across India called Vikalp Sangam (Alternatives Confluence), begun in 20148:

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Ecological wisdom and resilience: Reviving or strengthening the foundational belief in humanity being part of nature, and the intrinsic right of the rest of nature to thrive in all its diversity and complexity, promoting the conservation and resilience of nature (ecosystems, species, functions, and cycles).

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Social well-being and justice: Moving towards lives that are fulfilling and satisfactory physically, socially, culturally, and spiritually; with equity T in socio-economic and political entitlements M, benefits, rights and responsibilities across gender, class, caste, age, ethnicities, ‘able’ities, sexualities, and other current divisions; and an ongoing attempt to balance collective interests and individual freedoms; so that peace and harmony are ensured.

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Direct or radical political democracy: Establishing processes of decision-making power at the smallest unit of human settlement (rural or urban), in which every human has the right, capacity and opportunity to take part T. From these basic units outwards growth is envisioned to larger levels of governance that are accountable and answerable to these basic units. Political decision-making M at larger levels is taken by ecoregional or biocultural regional institutions, which respect ecological and cultural linkages and boundaries (and therefore challenge current political boundaries, including those of nation-states). The role of the state eventually becomes minimal and is limited to facilitating the connection of peoples and initiatives across larger landscapes. It carryies out welfare measures only till the time the basic units of direct and ecoregional democracy H are not able to do so.

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Economic democracy: Establishing or strenthening processes in which local communities A including producers and consumers – often combined in one word as prosumers – have control over the means of production, distribution, exchange, and markets. Open localization is a key principle, in which the local regional economy provides for all basic needs. Dependence on global trade is minimised, without falling into the trap of xenophobic closure of boundaries to ‘outsiders’ (such as what we see in some parts of Europe that are anti-immigrants). Larger trade and exchange, if and where necessary, is built on – and safeguards – this local self-reliance A. Nature, natural resources and other important elements that feed into the economy, are governed as the commons. Private property is minimized or disappears, non-monetized relations of caring and sharing regain their central importance and indicators are predominantly qualitative, focusing on basic needs and well-being.

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Cultural and knowledge plurality: Promoting processes in which diversity is a key principle; knowledge and its generation, use and transmission is part of the public domain or commons; innovation is democratically generated H and there are no ivory towers of ‘expertise’; learning takes place as part of life rather than in specialized institutions; and individual or collective pathways of ethical and spiritual well being and of happiness are available to all.

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Seen as a set of petals in a flower (see Figure below), the core or bud where they all intersect forms a set of values or principles, which too emerges as a crucial part of alternative initiatives of the kind mentioned above. These values, such as equality and equity T, respect for all life, diversity and pluralism, balancing the collective and the individual, can also be seen as the possible/ideal ethical or spiritual foundation of RED societies, or the worldview(s) that its members hold.

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Figure 1 - Spheres of alternative transformation (Note: the topics mentioned in the overlapping areas are only indicative, not exhaustive)

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An evolving worldview

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The broad components and values of eco-swaraj have been under discussion across India through the Vikalp Sangam (Alternatives Confluence) process. This process brings together a diverse set of actors from communities, civil society, and various professions who are involved in alternative initiatives across all sectors. A series of regional and thematic confluences that began in 2015, enable participants to share experiences, learn from each other, build alliances and collaboration, and jointly envision a better future. Documenting eco-swaraj practices in the form of stories, videos, case studies, and other forms provides a further means of disseminating knowledge, and spreading inspiration for further transformation, through a dedicated website9, a mobile exhibition, and other means.

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In 2012, about 20 civil society organizations and movements worldwide L A signed onto a Peoples’ Sustainability Treaty on Radical Ecological Democracy H as part of the parallel people’s process at the Rio+20 Conference in Rio de Janeiro10. Since then, a discussion list has kept alive the dialogue, and opportunities have been found for mutual learning with approaches like de-growth, ecofeminism11, cooperative societies, and social and solidarity economies, buen vivir 12 and its other equivalents in Latin America, and others O. A website launched in September 2017 will also showcase stories and perspectives from around the world13.

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RED or eco-swaraj is not a blueprint but an evolving worldview, finding resonance in different forms and different names in different parts of the world. It is also the basis of multiple visions of the future14. In its very process of democratic grassroots P H evolution, it forms an alternative to top-down ideologies and formulations, even as it takes on board the relevant elements of such ideologies. This is the foundation of its transformative potential.

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While still struggling in the face of the powerful forces of capitalism, stateism15, patriarchy, and other structures of inequity T and exploitation, alternative approaches like eco-swaraj and RED appear to be gaining ground as more and more people are confronted by multiple crises and searching for ways out. They face multiple challenges from politically M and economically powerful forces whose power they confront; they also find it difficult to mobilise a public that has been seduced by the promise of affluence and the glitter of consumerism, or reduced to seemingnly helpless submission by repressive states and corporations. Nonetheless, they are spreading and finding resonance. Multiple uprisings in various countries and regions on issues such as state repression, corporate impunity, climate crisis, inequality, racial and ethnic conflicts, landgrabbing, dispossession and displacement of communities in the name of ‘development’, are only the more visible signs of this. Quieter, but equally important, are the myriad attempts at finding equitable, sustainable solutions to problems, some examples of which are given above.

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References

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Demaria, Federico and Ashish Kothari, 2017, The Post-Development Dictionary agenda: paths to the pluriverse, Third World Quarterly, DOI: 10.1080/01436597.2017.1350821

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Kothari, Ashish (2014) ‘Radical Ecological Democracy: A way for India and beyond’, Development 57(1): 36–45

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Kothari, Ashish and Pallav Das, 2016, Power in India: Radical pathways, in State of Power 2016: Democracy, sovereignty and resistance, Transnational Institute, https://www.tni.org/stateofpower2016

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Kothari, Ashish and KJ Joy, In press, ‘Looking back into the future: India, South Asia, and the world in 2100’, in Ashish Kothari and KJ Joy, Alternative Futures: Unshackling India, Authors UpFront, Delhi.

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Parel, Anthony (ed), 1997, M. K. Gandhi: Hind Swaraj and Other Writings, Cambridge University Press, Cambridge.

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Shrivastava, Aseem and Ashish Kothari (2012) Churning the Earth: The making of global India, New Delhi: Viking/Penguin India.

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Bio

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Ashish Kothari is a researcher and activist, working on development-environment interface, biodiversity issues, and alternatives to development. He has been associated with peoples’ movements like Narmada Bachao Andolan and Beej Bachao Andolan, and doing action research regarding and with communities in various parts of India. A founder of Indian environmental group Kalpavriksh, Ashish taught at Indian Institute of Public Administration, coordinated India’s National Biodiversity Strategy and Action Plan, served on Greenpeace International and India Boards, helped initiate the global ICCA Consortium, and chaired an IUCN network on protected areas and communities. Ashish has (co)authored or (co)edited over 30 books (including Birds in our Lives, Churning the Earth, and forthcoming Alternative Futures: Unshackling India, and Pluriverse: A Post-Development Dictionary). He helps coordinate the Vikalp Sangam process in India, and networks with movements in other parts of the world on ideas and practices of Radical Ecological Democracy (RED). chikikothari@gmail.com

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Footnotes

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  1. Parel, Anthony (ed), 1997,M. K. Gandhi: Hind Swaraj and Other Writings, Cambridge University Press, Cambridge.

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  3. Some of the understanding of swaraj used here comes from the ongoing work of Aseem Shrivastava, including ‘The Imperative of Prakritik Swaraj’, June 2016, unpublished.

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  5. It is important to recognize that the term ‘eco-swaraj’ is not used by the peoples in these initiatives, who all speak their own language; the term is a composite that the author has come up with, integrating the more commonly used term ‘swaraj’ with a focus on ecological wisdom and integrity.

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  7. Kothari, Ashish and Pallav Das, 2016, Power in India: Radical pathways, in State of Power 2016: Democracy, sovereignty and resistance, Transnational Institute, https://www.tni.org/stateofpower2016

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  9. See www.vikalpsangam.org (alias www.alternativesindia.org) for several hundred examples from rural and urban India; and a newly launched site, www.radicalecologicaldemocracy.org for examples from the rest of the world. See also Demaria, Federico and Ashish Kothari, 2017, The Post-Development Dictionary agenda: paths to the pluriverse, Third World Quarterly for details of a forthcoming Post-Development Dictionary containing nearly 100 entries on alternatives from around the world.

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  11. Parallel similar initiatives in other parts of the world include ‘oil in the soil’ and ‘coal in the hole’, anti-pipeline resistance movements in the Americas and Africa, the Zapatista and Kurdish autonomy regions, indigenous peoples’ territorial rights struggles across the global South, agroecology, commons and de-growth movements in Europe and elsewhere, and many others.

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  13. See Kothari, Ashish (2014) ‘Radical Ecological Democracy: A way for India and beyond’, Development 57(1): 36–45; Shrivastava, Aseem and Ashish Kothari (2012) Churning the Earth: The making of global India, New Delhi: Viking/Penguin India. See also www.radicalecologicaldemocracy.org for details of the Peoples’ Sustainability Treaties process for the Rio+20 Conference.

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  15. Adapted from ‘In Search of Alternatives’, a discussion note evolving through the Vikalp Sangam process (see footnote 5), available at: http://www.vikalpsangam.org/about/the-search-for-alternatives-key-aspects-and-principles/. For information on the Vikalp Sangam process and its outputs, pl. see http://kalpavriksh.org/index.php/alternatives/alternatives-knowledge-center/353-vikalpsangam-coverage.

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  17. www.vikalpsangam.org

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  19. http://www.radicalecologicaldemocracy.org/treaty/

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  21. An approach linking feminism with ecological perspectives, advocating the rehealing of the earth by reconnecting humans and nature that have been split by patriarchy.

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  23. Broadly translated as ‘good living’, this and other equivalent terms like sumac kawsay are from indigenous peoples in Latin America, encompassing worldviews based on collective, mutually respectful living amongst humans and between humans and the rest of nature.

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  25. www.radicalecologicaldemocracy.org

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  27. For one example see Kothari, Ashish and KJ Joy, In press, ‘Looking back into the future: India, South Asia, and the world in 2100’, in Ashish Kothari and KJ Joy, Alternative Futures: Unshackling India, Authors UpFront, Delhi.

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  29. A system in which the state concentrates most power in itself.

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ECO-SWARAJ

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Original written by Ashish Kothari, environmentalist
+Original artistic response from Rodrigo Sobarzo, performance artist
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You have made a choice out of three; Earthly colours. This influences the layout of this page. The most chosen layout will be the printed version. As a group, a small community on the internet you will affect the real life version of this article.

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Eco-Swaraj is also about making choices. It gives three examples of self-decision making systems in communities spread around India.

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Images: Andes seen from airplane, october 2017

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In response to the abysmal socio-economic inequities and catastrophic ecological collapse we are witnessing globally, powerful resistance and alternative movements are emerging around the world L A. These are articulating and promoting practices and worldviews relating to achieving human and planetary wellbeing in just and sustainable ways. Some of these are re-affirmations of continuing lifestyles and livelihoods that have lived in relative harmony with the earth for millennia or centuries. Others O are new initiatives emerging from resistance movements against the destructive nature of capitalism, industrialism, patriarchy, statism, and other forms of power concentration.

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Though incredibly diverse in their settings and processes, these initiatives display some common features that enable the emergence of a general set of principles and values, forming a broad ideological framework, that may be applicable beyond the specific sites where they are operational. One of these features is the assertion of autonomy; or self-governance; or self-determination. This is most prominently articulated in numerous movements of indigenous peoples around the world L A, culminating globally in the United Nations Declaration of the Rights of Indigenous Peoples. The Zapatista and Kurdish autonomy movements L are also based on the principle of autonomy.

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One such a framework that has emerged from grassroots experience in India, with significant global resonance, is eco-swaraj. The term swaraj, simplistically translated as self-rule, stems from ancient Indian notions and practices of people being involved in decision-making in local assemblies A. It became popular and widely articulated during India’s Independence struggle against the British colonial power, but it is important to realize that its use to mean ‘national independence’ is a very limited interpretation. MK Gandhi1 , in fact, in numerous writings including in particular Hind Swaraj, attempted to give it a much deeper and wider meaning. Encompassing individual to community to human autonomy and freedom, integrally linking to the ethics of responsibility towards others O (including the rest of nature), and to the spiritual deepening necessary for ethically just and self-restrained behaviour2.

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Autonomy and Self-rule

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Equally, though, the notion of eco-swaraj emerges from grassroots praxis P 3. This is illustrated in the following examples from three communities in different parts of India:

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1. “Our government is in Mumbai and Delhi, but we are the government in our village” , Mendha-Lekha village, Maharashtra.4

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The village of Mendha-Lekha, in Gadchiroli district of Maharashtra state, has a population of about five hundred Gond Adivasi people, indigenous people who in India are also called ‘tribals’. About thirty years ago these people were part of a resistance movement against a large dam that would have displaced them and submerged their forests A. This mobilisation also led them to consider forms of organisation that could help deal with other problems and issues. They established their ‘gram sabha’ (village assembly) as the primary organ of decision-making, and after considerable discussion adopted the principle of consensus. They realised that voting and the majoritarianism that comes with it can be detrimental to village unity and the interests of minorities. The villagers do not allow any government agency or politicians M to take decisions on their behalf, nor may a village or tribal chief do so on his/her own. This is part of a ‘tribal self-rule’ campaign underway in some parts of India, though few villages have managed to achieve complete self-rule as it is a process that requires sustained effort, natural leadership, and the ability to resolve disputes – features that are not common. Both in Mendha-Lekha and at several other sites, communities are now also using the recent legislation that recognises their communal rights to govern and use forests, along with constitutional provisions of decentralisation, to assert varying levels of swaraj.

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2. “These hills and forests belong to Niyamraja, they are the basis of our survival and livelihoods, we will not allow any company to take them away from us”, Dongria Kondh adivasis (indigenous people), Odisha.

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The ancient indigenous adivasi group of Dongria Kondh, was catapulted into national and global limelight when the UK-based transnational corporation (TNC) Vedanta proposed to mine bauxite in the hills where they live. The Dongria Kondh pointed out that these hills were their sacred territory A, and also crucial for their livelihoods and cultural existence. When the state gave its permission for the corporation to begin mining, the Dongria Kondh, supported by civil society groups, took the matter to various levels of government, the courts, and even the shareholders of Vedanta Corporation in London. The Indian Supreme Court ruled that as a culturally important site for the Dongria Kondh, the government required the peoples’ approval. This is a crucial order that established the right of consent (or rejection) to affected communities, somewhat akin to the global indigenous peoples’ demand for ‘free and prior informed consent’ (FPIC) now enshrined in the UN Declaration on the Rights of Indigenous Peoples. At village assemblies that were subsequently held, the Dongria Kondh unanimously rejected the mining proposal and have since then stood firm against renewed efforts to convince them otherwise, despite increased armed police presence and intimidation tactics by the state.

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3. “Seeds are the core of our identity, our culture, our livelihoods, they are our heritage and no government agency or corporation can control them”, Dalit women of Deccan Development Society, Telangana.

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In India’s unique caste system (mostly amongst Hindus), where people are born into a relatively unchanging hierarchical ordering of castes, Dalits are at the bottom of the run, oppressed and exploited in multiple ways. As Dalit women, there is double oppression in a society that is also highly patriarchal. And as small and marginal farmers, they are also economically marginalised. In such a situation, over the last three decades, these women R have thrown off their socially oppressed status by achieving a remarkable revolution in sustainable farming, alternative media, and collective mobilisation. Assisted by some civil society activists, they collectivized several agricultural operations, revived traditional seed diversity, went completely organic L A, created grain banks for the poor to access, linked farmer producers to nearby consumers (through a healthy foods restaurant in a nearby town), fought for land rights for women, took up an influential role in the local Agricultural Science Centre (a government set-up), and in many other ways achieved food sovereignty and security. Thus empowered, they also set up a community radio station and a filmmaking unit, to generate their own media content. As part of several national and global networks, they have also participated in policy forums and civil society exchanges. Where once they were shunned as Dalits, marginalised as women, and poverty-stricken as marginal farmers with few productive assets, they are now assertive, self-confident controllers of their own destiny, advocates for local to global policy change, and path breakers in many other respects.

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These and numerous other examples across India, including in urban areas such as the movements for the ‘right to the city’, like participatory budgeting, or area sabha (neighbourhood assembly) empowerment as an urban parallel to gram sabha (village assembly) self-governance, show the potential of eco-swaraj.5 Practices of eco-swaraj (as also others O in the world6) display an approach that respects the limits of the Earth and the rights of other species, while pursuing the core values of social justice and equity T. With its strong democratic H and egalitarian impulse, eco-swaraj seeks to empower every person to be a part of decision-making and requires a holistic vision of human wellbeing - that encompasses physical, material, socio-cultural, intellectual, and spiritual dimensions. Instead of states and corporations, eco-swaraj places collectives and communities at the centre of governance and economy. Eco-swaraj is grounded in real-life initiatives across the Indian subcontinent, encompassing sustainable farming, fisheries and pastoralism, food and water sovereignty, decentralized energy production, direct local governance, community health, alternative learning R and education, community-controlled media and communications, localization of economies, gender and caste justice, rights of differently abled and multiple sexualities, and many others O.

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Radical Ecological Democracy

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Based on such grassroots experience P and interactions with activist-thinkers and practitioners across India, a conceptual framework called Radical Ecological Democracy H (RED) has emerged in the last few years as a somewhat more systematic or structured reworking of eco-swaraj. While it arose in India, it quickly found resonance in many other parts of the world as part of a process of generating Peoples’ Sustainability Treaties for the Rio+20 Conference.7

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Eco-swaraj or RED encompasses the following five interlocking spheres (thematic composites of key elements), which have evolved through a process of bringing together alternative initiatives across India called Vikalp Sangam (Alternatives Confluence), begun in 20148:

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Ecological wisdom and resilience: Reviving or strengthening the foundational belief in humanity being part of nature, and the intrinsic right of the rest of nature to thrive in all its diversity and complexity, promoting the conservation and resilience of nature (ecosystems, species, functions, and cycles).

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Social well-being and justice: Moving towards lives that are fulfilling and satisfactory physically, socially, culturally, and spiritually; with equity T in socio-economic and political entitlements M, benefits, rights and responsibilities across gender, class, caste, age, ethnicities, ‘able’ities, sexualities, and other current divisions; and an ongoing attempt to balance collective interests and individual freedoms; so that peace and harmony are ensured.

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Direct or radical political democracy: Establishing processes of decision-making power at the smallest unit of human settlement (rural or urban), in which every human has the right, capacity and opportunity to take part T. From these basic units outwards growth is envisioned to larger levels of governance that are accountable and answerable to these basic units. Political decision-making M at larger levels is taken by ecoregional or biocultural regional institutions, which respect ecological and cultural linkages and boundaries (and therefore challenge current political boundaries, including those of nation-states). The role of the state eventually becomes minimal and is limited to facilitating the connection of peoples and initiatives across larger landscapes. It carryies out welfare measures only till the time the basic units of direct and ecoregional democracy H are not able to do so.

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Economic democracy: Establishing or strenthening processes in which local communities A including producers and consumers – often combined in one word as prosumers – have control over the means of production, distribution, exchange, and markets. Open localization is a key principle, in which the local regional economy provides for all basic needs. Dependence on global trade is minimised, without falling into the trap of xenophobic closure of boundaries to ‘outsiders’ (such as what we see in some parts of Europe that are anti-immigrants). Larger trade and exchange, if and where necessary, is built on – and safeguards – this local self-reliance A. Nature, natural resources and other important elements that feed into the economy, are governed as the commons. Private property is minimized or disappears, non-monetized relations of caring and sharing regain their central importance and indicators are predominantly qualitative, focusing on basic needs and well-being.

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Cultural and knowledge plurality: Promoting processes in which diversity is a key principle; knowledge and its generation, use and transmission is part of the public domain or commons; innovation is democratically generated H and there are no ivory towers of ‘expertise’; learning takes place as part of life rather than in specialized institutions; and individual or collective pathways of ethical and spiritual well being and of happiness are available to all.

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Seen as a set of petals in a flower (see Figure below), the core or bud where they all intersect forms a set of values or principles, which too emerges as a crucial part of alternative initiatives of the kind mentioned above. These values, such as equality and equity T, respect for all life, diversity and pluralism, balancing the collective and the individual, can also be seen as the possible/ideal ethical or spiritual foundation of RED societies, or the worldview(s) that its members hold.

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Figure 1 - Spheres of alternative transformation (Note: the topics mentioned in the overlapping areas are only indicative, not exhaustive)

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An evolving worldview

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The broad components and values of eco-swaraj have been under discussion across India through the Vikalp Sangam (Alternatives Confluence) process. This process brings together a diverse set of actors from communities, civil society, and various professions who are involved in alternative initiatives across all sectors. A series of regional and thematic confluences that began in 2015, enable participants to share experiences, learn from each other, build alliances and collaboration, and jointly envision a better future. Documenting eco-swaraj practices in the form of stories, videos, case studies, and other forms provides a further means of disseminating knowledge, and spreading inspiration for further transformation, through a dedicated website9, a mobile exhibition, and other means.

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In 2012, about 20 civil society organizations and movements worldwide L A signed onto a Peoples’ Sustainability Treaty on Radical Ecological Democracy H as part of the parallel people’s process at the Rio+20 Conference in Rio de Janeiro10. Since then, a discussion list has kept alive the dialogue, and opportunities have been found for mutual learning with approaches like de-growth, ecofeminism11, cooperative societies, and social and solidarity economies, buen vivir 12 and its other equivalents in Latin America, and others O. A website launched in September 2017 will also showcase stories and perspectives from around the world13.

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RED or eco-swaraj is not a blueprint but an evolving worldview, finding resonance in different forms and different names in different parts of the world. It is also the basis of multiple visions of the future14. In its very process of democratic grassroots P H evolution, it forms an alternative to top-down ideologies and formulations, even as it takes on board the relevant elements of such ideologies. This is the foundation of its transformative potential.

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While still struggling in the face of the powerful forces of capitalism, stateism15, patriarchy, and other structures of inequity T and exploitation, alternative approaches like eco-swaraj and RED appear to be gaining ground as more and more people are confronted by multiple crises and searching for ways out. They face multiple challenges from politically M and economically powerful forces whose power they confront; they also find it difficult to mobilise a public that has been seduced by the promise of affluence and the glitter of consumerism, or reduced to seemingnly helpless submission by repressive states and corporations. Nonetheless, they are spreading and finding resonance. Multiple uprisings in various countries and regions on issues such as state repression, corporate impunity, climate crisis, inequality, racial and ethnic conflicts, landgrabbing, dispossession and displacement of communities in the name of ‘development’, are only the more visible signs of this. Quieter, but equally important, are the myriad attempts at finding equitable, sustainable solutions to problems, some examples of which are given above.

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References

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Demaria, Federico and Ashish Kothari, 2017, The Post-Development Dictionary agenda: paths to the pluriverse, Third World Quarterly, DOI: 10.1080/01436597.2017.1350821

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Kothari, Ashish (2014) ‘Radical Ecological Democracy: A way for India and beyond’, Development 57(1): 36–45

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Kothari, Ashish and Pallav Das, 2016, Power in India: Radical pathways, in State of Power 2016: Democracy, sovereignty and resistance, Transnational Institute, https://www.tni.org/stateofpower2016

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Kothari, Ashish and KJ Joy, In press, ‘Looking back into the future: India, South Asia, and the world in 2100’, in Ashish Kothari and KJ Joy, Alternative Futures: Unshackling India, Authors UpFront, Delhi.

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Parel, Anthony (ed), 1997, M. K. Gandhi: Hind Swaraj and Other Writings, Cambridge University Press, Cambridge.

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Shrivastava, Aseem and Ashish Kothari (2012) Churning the Earth: The making of global India, New Delhi: Viking/Penguin India.

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Bio

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Ashish Kothari is a researcher and activist, working on development-environment interface, biodiversity issues, and alternatives to development. He has been associated with peoples’ movements like Narmada Bachao Andolan and Beej Bachao Andolan, and doing action research regarding and with communities in various parts of India. A founder of Indian environmental group Kalpavriksh, Ashish taught at Indian Institute of Public Administration, coordinated India’s National Biodiversity Strategy and Action Plan, served on Greenpeace International and India Boards, helped initiate the global ICCA Consortium, and chaired an IUCN network on protected areas and communities. Ashish has (co)authored or (co)edited over 30 books (including Birds in our Lives, Churning the Earth, and forthcoming Alternative Futures: Unshackling India, and Pluriverse: A Post-Development Dictionary). He helps coordinate the Vikalp Sangam process in India, and networks with movements in other parts of the world on ideas and practices of Radical Ecological Democracy (RED). chikikothari@gmail.com

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Footnotes

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  1. Parel, Anthony (ed), 1997,M. K. Gandhi: Hind Swaraj and Other Writings, Cambridge University Press, Cambridge.

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  3. Some of the understanding of swaraj used here comes from the ongoing work of Aseem Shrivastava, including ‘The Imperative of Prakritik Swaraj’, June 2016, unpublished.

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  5. It is important to recognize that the term ‘eco-swaraj’ is not used by the peoples in these initiatives, who all speak their own language; the term is a composite that the author has come up with, integrating the more commonly used term ‘swaraj’ with a focus on ecological wisdom and integrity.

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  7. Kothari, Ashish and Pallav Das, 2016, Power in India: Radical pathways, in State of Power 2016: Democracy, sovereignty and resistance, Transnational Institute, https://www.tni.org/stateofpower2016

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  9. See www.vikalpsangam.org (alias www.alternativesindia.org) for several hundred examples from rural and urban India; and a newly launched site, www.radicalecologicaldemocracy.org for examples from the rest of the world. See also Demaria, Federico and Ashish Kothari, 2017, The Post-Development Dictionary agenda: paths to the pluriverse, Third World Quarterly for details of a forthcoming Post-Development Dictionary containing nearly 100 entries on alternatives from around the world.

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  11. Parallel similar initiatives in other parts of the world include ‘oil in the soil’ and ‘coal in the hole’, anti-pipeline resistance movements in the Americas and Africa, the Zapatista and Kurdish autonomy regions, indigenous peoples’ territorial rights struggles across the global South, agroecology, commons and de-growth movements in Europe and elsewhere, and many others.

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  13. See Kothari, Ashish (2014) ‘Radical Ecological Democracy: A way for India and beyond’, Development 57(1): 36–45; Shrivastava, Aseem and Ashish Kothari (2012) Churning the Earth: The making of global India, New Delhi: Viking/Penguin India. See also www.radicalecologicaldemocracy.org for details of the Peoples’ Sustainability Treaties process for the Rio+20 Conference.

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  15. Adapted from ‘In Search of Alternatives’, a discussion note evolving through the Vikalp Sangam process (see footnote 5), available at: http://www.vikalpsangam.org/about/the-search-for-alternatives-key-aspects-and-principles/. For information on the Vikalp Sangam process and its outputs, pl. see http://kalpavriksh.org/index.php/alternatives/alternatives-knowledge-center/353-vikalpsangam-coverage.

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  17. www.vikalpsangam.org

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  19. http://www.radicalecologicaldemocracy.org/treaty/

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  21. An approach linking feminism with ecological perspectives, advocating the rehealing of the earth by reconnecting humans and nature that have been split by patriarchy.

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  23. Broadly translated as ‘good living’, this and other equivalent terms like sumac kawsay are from indigenous peoples in Latin America, encompassing worldviews based on collective, mutually respectful living amongst humans and between humans and the rest of nature.

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  25. www.radicalecologicaldemocracy.org

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  27. For one example see Kothari, Ashish and KJ Joy, In press, ‘Looking back into the future: India, South Asia, and the world in 2100’, in Ashish Kothari and KJ Joy, Alternative Futures: Unshackling India, Authors UpFront, Delhi.

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  29. A system in which the state concentrates most power in itself.

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ECO-SWARAJ

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Original written by Ashish Kothari, environmentalist
+Original artistic response from Rodrigo Sobarzo, performance artist
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You have made a choice out of three; Pastel colours. This influences the layout of this page. The most chosen layout will be the printed version. As a group, a small community on the internet you will affect the real life version of this article.

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Eco-Swaraj is also about making choices. It gives three examples of self-decision making systems in communities spread around India.

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Images: Andes seen from airplane, october 2017

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In response to the abysmal socio-economic inequities and catastrophic ecological collapse we are witnessing globally, powerful resistance and alternative movements are emerging around the world L A. These are articulating and promoting practices and worldviews relating to achieving human and planetary wellbeing in just and sustainable ways. Some of these are re-affirmations of continuing lifestyles and livelihoods that have lived in relative harmony with the earth for millennia or centuries. Others O are new initiatives emerging from resistance movements against the destructive nature of capitalism, industrialism, patriarchy, statism, and other forms of power concentration.

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Though incredibly diverse in their settings and processes, these initiatives display some common features that enable the emergence of a general set of principles and values, forming a broad ideological framework, that may be applicable beyond the specific sites where they are operational. One of these features is the assertion of autonomy; or self-governance; or self-determination. This is most prominently articulated in numerous movements of indigenous peoples around the world L A, culminating globally in the United Nations Declaration of the Rights of Indigenous Peoples. The Zapatista and Kurdish autonomy movements L are also based on the principle of autonomy.

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One such a framework that has emerged from grassroots experience in India, with significant global resonance, is eco-swaraj. The term swaraj, simplistically translated as self-rule, stems from ancient Indian notions and practices of people being involved in decision-making in local assemblies A. It became popular and widely articulated during India’s Independence struggle against the British colonial power, but it is important to realize that its use to mean ‘national independence’ is a very limited interpretation. MK Gandhi1 , in fact, in numerous writings including in particular Hind Swaraj, attempted to give it a much deeper and wider meaning. Encompassing individual to community to human autonomy and freedom, integrally linking to the ethics of responsibility towards others O (including the rest of nature), and to the spiritual deepening necessary for ethically just and self-restrained behaviour2.

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Autonomy and Self-rule

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Equally, though, the notion of eco-swaraj emerges from grassroots praxis P 3. This is illustrated in the following examples from three communities in different parts of India:

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1. “Our government is in Mumbai and Delhi, but we are the government in our village” , Mendha-Lekha village, Maharashtra.4

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The village of Mendha-Lekha, in Gadchiroli district of Maharashtra state, has a population of about five hundred Gond Adivasi people, indigenous people who in India are also called ‘tribals’. About thirty years ago these people were part of a resistance movement against a large dam that would have displaced them and submerged their forests A. This mobilisation also led them to consider forms of organisation that could help deal with other problems and issues. They established their ‘gram sabha’ (village assembly) as the primary organ of decision-making, and after considerable discussion adopted the principle of consensus. They realised that voting and the majoritarianism that comes with it can be detrimental to village unity and the interests of minorities. The villagers do not allow any government agency or politicians M to take decisions on their behalf, nor may a village or tribal chief do so on his/her own. This is part of a ‘tribal self-rule’ campaign underway in some parts of India, though few villages have managed to achieve complete self-rule as it is a process that requires sustained effort, natural leadership, and the ability to resolve disputes – features that are not common. Both in Mendha-Lekha and at several other sites, communities are now also using the recent legislation that recognises their communal rights to govern and use forests, along with constitutional provisions of decentralisation, to assert varying levels of swaraj.

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2. “These hills and forests belong to Niyamraja, they are the basis of our survival and livelihoods, we will not allow any company to take them away from us”, Dongria Kondh adivasis (indigenous people), Odisha.

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The ancient indigenous adivasi group of Dongria Kondh, was catapulted into national and global limelight when the UK-based transnational corporation (TNC) Vedanta proposed to mine bauxite in the hills where they live. The Dongria Kondh pointed out that these hills were their sacred territory A, and also crucial for their livelihoods and cultural existence. When the state gave its permission for the corporation to begin mining, the Dongria Kondh, supported by civil society groups, took the matter to various levels of government, the courts, and even the shareholders of Vedanta Corporation in London. The Indian Supreme Court ruled that as a culturally important site for the Dongria Kondh, the government required the peoples’ approval. This is a crucial order that established the right of consent (or rejection) to affected communities, somewhat akin to the global indigenous peoples’ demand for ‘free and prior informed consent’ (FPIC) now enshrined in the UN Declaration on the Rights of Indigenous Peoples. At village assemblies that were subsequently held, the Dongria Kondh unanimously rejected the mining proposal and have since then stood firm against renewed efforts to convince them otherwise, despite increased armed police presence and intimidation tactics by the state.

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3. “Seeds are the core of our identity, our culture, our livelihoods, they are our heritage and no government agency or corporation can control them”, Dalit women of Deccan Development Society, Telangana.

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In India’s unique caste system (mostly amongst Hindus), where people are born into a relatively unchanging hierarchical ordering of castes, Dalits are at the bottom of the run, oppressed and exploited in multiple ways. As Dalit women, there is double oppression in a society that is also highly patriarchal. And as small and marginal farmers, they are also economically marginalised. In such a situation, over the last three decades, these women R have thrown off their socially oppressed status by achieving a remarkable revolution in sustainable farming, alternative media, and collective mobilisation. Assisted by some civil society activists, they collectivized several agricultural operations, revived traditional seed diversity, went completely organic L A, created grain banks for the poor to access, linked farmer producers to nearby consumers (through a healthy foods restaurant in a nearby town), fought for land rights for women, took up an influential role in the local Agricultural Science Centre (a government set-up), and in many other ways achieved food sovereignty and security. Thus empowered, they also set up a community radio station and a filmmaking unit, to generate their own media content. As part of several national and global networks, they have also participated in policy forums and civil society exchanges. Where once they were shunned as Dalits, marginalised as women, and poverty-stricken as marginal farmers with few productive assets, they are now assertive, self-confident controllers of their own destiny, advocates for local to global policy change, and path breakers in many other respects.

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These and numerous other examples across India, including in urban areas such as the movements for the ‘right to the city’, like participatory budgeting, or area sabha (neighbourhood assembly) empowerment as an urban parallel to gram sabha (village assembly) self-governance, show the potential of eco-swaraj.5 Practices of eco-swaraj (as also others O in the world6) display an approach that respects the limits of the Earth and the rights of other species, while pursuing the core values of social justice and equity T. With its strong democratic H and egalitarian impulse, eco-swaraj seeks to empower every person to be a part of decision-making and requires a holistic vision of human wellbeing - that encompasses physical, material, socio-cultural, intellectual, and spiritual dimensions. Instead of states and corporations, eco-swaraj places collectives and communities at the centre of governance and economy. Eco-swaraj is grounded in real-life initiatives across the Indian subcontinent, encompassing sustainable farming, fisheries and pastoralism, food and water sovereignty, decentralized energy production, direct local governance, community health, alternative learning R and education, community-controlled media and communications, localization of economies, gender and caste justice, rights of differently abled and multiple sexualities, and many others O.

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Radical Ecological Democracy

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Based on such grassroots experience P and interactions with activist-thinkers and practitioners across India, a conceptual framework called Radical Ecological Democracy H (RED) has emerged in the last few years as a somewhat more systematic or structured reworking of eco-swaraj. While it arose in India, it quickly found resonance in many other parts of the world as part of a process of generating Peoples’ Sustainability Treaties for the Rio+20 Conference.7

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Eco-swaraj or RED encompasses the following five interlocking spheres (thematic composites of key elements), which have evolved through a process of bringing together alternative initiatives across India called Vikalp Sangam (Alternatives Confluence), begun in 20148:

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Ecological wisdom and resilience: Reviving or strengthening the foundational belief in humanity being part of nature, and the intrinsic right of the rest of nature to thrive in all its diversity and complexity, promoting the conservation and resilience of nature (ecosystems, species, functions, and cycles).

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Social well-being and justice: Moving towards lives that are fulfilling and satisfactory physically, socially, culturally, and spiritually; with equity T in socio-economic and political entitlements M, benefits, rights and responsibilities across gender, class, caste, age, ethnicities, ‘able’ities, sexualities, and other current divisions; and an ongoing attempt to balance collective interests and individual freedoms; so that peace and harmony are ensured.

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Direct or radical political democracy: Establishing processes of decision-making power at the smallest unit of human settlement (rural or urban), in which every human has the right, capacity and opportunity to take part T. From these basic units outwards growth is envisioned to larger levels of governance that are accountable and answerable to these basic units. Political decision-making M at larger levels is taken by ecoregional or biocultural regional institutions, which respect ecological and cultural linkages and boundaries (and therefore challenge current political boundaries, including those of nation-states). The role of the state eventually becomes minimal and is limited to facilitating the connection of peoples and initiatives across larger landscapes. It carryies out welfare measures only till the time the basic units of direct and ecoregional democracy H are not able to do so.

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Economic democracy: Establishing or strenthening processes in which local communities A including producers and consumers – often combined in one word as prosumers – have control over the means of production, distribution, exchange, and markets. Open localization is a key principle, in which the local regional economy provides for all basic needs. Dependence on global trade is minimised, without falling into the trap of xenophobic closure of boundaries to ‘outsiders’ (such as what we see in some parts of Europe that are anti-immigrants). Larger trade and exchange, if and where necessary, is built on – and safeguards – this local self-reliance A. Nature, natural resources and other important elements that feed into the economy, are governed as the commons. Private property is minimized or disappears, non-monetized relations of caring and sharing regain their central importance and indicators are predominantly qualitative, focusing on basic needs and well-being.

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Cultural and knowledge plurality: Promoting processes in which diversity is a key principle; knowledge and its generation, use and transmission is part of the public domain or commons; innovation is democratically generated H and there are no ivory towers of ‘expertise’; learning takes place as part of life rather than in specialized institutions; and individual or collective pathways of ethical and spiritual well being and of happiness are available to all.

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Seen as a set of petals in a flower (see Figure below), the core or bud where they all intersect forms a set of values or principles, which too emerges as a crucial part of alternative initiatives of the kind mentioned above. These values, such as equality and equity T, respect for all life, diversity and pluralism, balancing the collective and the individual, can also be seen as the possible/ideal ethical or spiritual foundation of RED societies, or the worldview(s) that its members hold.

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Figure 1 - Spheres of alternative transformation (Note: the topics mentioned in the overlapping areas are only indicative, not exhaustive)

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An evolving worldview

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The broad components and values of eco-swaraj have been under discussion across India through the Vikalp Sangam (Alternatives Confluence) process. This process brings together a diverse set of actors from communities, civil society, and various professions who are involved in alternative initiatives across all sectors. A series of regional and thematic confluences that began in 2015, enable participants to share experiences, learn from each other, build alliances and collaboration, and jointly envision a better future. Documenting eco-swaraj practices in the form of stories, videos, case studies, and other forms provides a further means of disseminating knowledge, and spreading inspiration for further transformation, through a dedicated website9, a mobile exhibition, and other means.

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In 2012, about 20 civil society organizations and movements worldwide L A signed onto a Peoples’ Sustainability Treaty on Radical Ecological Democracy H as part of the parallel people’s process at the Rio+20 Conference in Rio de Janeiro10. Since then, a discussion list has kept alive the dialogue, and opportunities have been found for mutual learning with approaches like de-growth, ecofeminism11, cooperative societies, and social and solidarity economies, buen vivir 12 and its other equivalents in Latin America, and others O. A website launched in September 2017 will also showcase stories and perspectives from around the world13.

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RED or eco-swaraj is not a blueprint but an evolving worldview, finding resonance in different forms and different names in different parts of the world. It is also the basis of multiple visions of the future14. In its very process of democratic grassroots P H evolution, it forms an alternative to top-down ideologies and formulations, even as it takes on board the relevant elements of such ideologies. This is the foundation of its transformative potential.

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While still struggling in the face of the powerful forces of capitalism, stateism15, patriarchy, and other structures of inequity T and exploitation, alternative approaches like eco-swaraj and RED appear to be gaining ground as more and more people are confronted by multiple crises and searching for ways out. They face multiple challenges from politically M and economically powerful forces whose power they confront; they also find it difficult to mobilise a public that has been seduced by the promise of affluence and the glitter of consumerism, or reduced to seemingnly helpless submission by repressive states and corporations. Nonetheless, they are spreading and finding resonance. Multiple uprisings in various countries and regions on issues such as state repression, corporate impunity, climate crisis, inequality, racial and ethnic conflicts, landgrabbing, dispossession and displacement of communities in the name of ‘development’, are only the more visible signs of this. Quieter, but equally important, are the myriad attempts at finding equitable, sustainable solutions to problems, some examples of which are given above.

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References

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Demaria, Federico and Ashish Kothari, 2017, The Post-Development Dictionary agenda: paths to the pluriverse, Third World Quarterly, DOI: 10.1080/01436597.2017.1350821

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Kothari, Ashish (2014) ‘Radical Ecological Democracy: A way for India and beyond’, Development 57(1): 36–45

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Kothari, Ashish and Pallav Das, 2016, Power in India: Radical pathways, in State of Power 2016: Democracy, sovereignty and resistance, Transnational Institute, https://www.tni.org/stateofpower2016

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Kothari, Ashish and KJ Joy, In press, ‘Looking back into the future: India, South Asia, and the world in 2100’, in Ashish Kothari and KJ Joy, Alternative Futures: Unshackling India, Authors UpFront, Delhi.

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Parel, Anthony (ed), 1997, M. K. Gandhi: Hind Swaraj and Other Writings, Cambridge University Press, Cambridge.

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Shrivastava, Aseem and Ashish Kothari (2012) Churning the Earth: The making of global India, New Delhi: Viking/Penguin India.

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Bio

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Ashish Kothari is a researcher and activist, working on development-environment interface, biodiversity issues, and alternatives to development. He has been associated with peoples’ movements like Narmada Bachao Andolan and Beej Bachao Andolan, and doing action research regarding and with communities in various parts of India. A founder of Indian environmental group Kalpavriksh, Ashish taught at Indian Institute of Public Administration, coordinated India’s National Biodiversity Strategy and Action Plan, served on Greenpeace International and India Boards, helped initiate the global ICCA Consortium, and chaired an IUCN network on protected areas and communities. Ashish has (co)authored or (co)edited over 30 books (including Birds in our Lives, Churning the Earth, and forthcoming Alternative Futures: Unshackling India, and Pluriverse: A Post-Development Dictionary). He helps coordinate the Vikalp Sangam process in India, and networks with movements in other parts of the world on ideas and practices of Radical Ecological Democracy (RED). chikikothari@gmail.com

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Footnotes

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  1. Parel, Anthony (ed), 1997,M. K. Gandhi: Hind Swaraj and Other Writings, Cambridge University Press, Cambridge.

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  3. Some of the understanding of swaraj used here comes from the ongoing work of Aseem Shrivastava, including ‘The Imperative of Prakritik Swaraj’, June 2016, unpublished.

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  5. It is important to recognize that the term ‘eco-swaraj’ is not used by the peoples in these initiatives, who all speak their own language; the term is a composite that the author has come up with, integrating the more commonly used term ‘swaraj’ with a focus on ecological wisdom and integrity.

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  7. Kothari, Ashish and Pallav Das, 2016, Power in India: Radical pathways, in State of Power 2016: Democracy, sovereignty and resistance, Transnational Institute, https://www.tni.org/stateofpower2016

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  9. See www.vikalpsangam.org (alias www.alternativesindia.org) for several hundred examples from rural and urban India; and a newly launched site, www.radicalecologicaldemocracy.org for examples from the rest of the world. See also Demaria, Federico and Ashish Kothari, 2017, The Post-Development Dictionary agenda: paths to the pluriverse, Third World Quarterly for details of a forthcoming Post-Development Dictionary containing nearly 100 entries on alternatives from around the world.

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  11. Parallel similar initiatives in other parts of the world include ‘oil in the soil’ and ‘coal in the hole’, anti-pipeline resistance movements in the Americas and Africa, the Zapatista and Kurdish autonomy regions, indigenous peoples’ territorial rights struggles across the global South, agroecology, commons and de-growth movements in Europe and elsewhere, and many others.

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  13. See Kothari, Ashish (2014) ‘Radical Ecological Democracy: A way for India and beyond’, Development 57(1): 36–45; Shrivastava, Aseem and Ashish Kothari (2012) Churning the Earth: The making of global India, New Delhi: Viking/Penguin India. See also www.radicalecologicaldemocracy.org for details of the Peoples’ Sustainability Treaties process for the Rio+20 Conference.

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  15. Adapted from ‘In Search of Alternatives’, a discussion note evolving through the Vikalp Sangam process (see footnote 5), available at: http://www.vikalpsangam.org/about/the-search-for-alternatives-key-aspects-and-principles/. For information on the Vikalp Sangam process and its outputs, pl. see http://kalpavriksh.org/index.php/alternatives/alternatives-knowledge-center/353-vikalpsangam-coverage.

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  17. www.vikalpsangam.org

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  19. http://www.radicalecologicaldemocracy.org/treaty/

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  21. An approach linking feminism with ecological perspectives, advocating the rehealing of the earth by reconnecting humans and nature that have been split by patriarchy.

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  23. Broadly translated as ‘good living’, this and other equivalent terms like sumac kawsay are from indigenous peoples in Latin America, encompassing worldviews based on collective, mutually respectful living amongst humans and between humans and the rest of nature.

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  25. www.radicalecologicaldemocracy.org

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  27. For one example see Kothari, Ashish and KJ Joy, In press, ‘Looking back into the future: India, South Asia, and the world in 2100’, in Ashish Kothari and KJ Joy, Alternative Futures: Unshackling India, Authors UpFront, Delhi.

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  29. A system in which the state concentrates most power in itself.

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In which layout would you like to read?

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Hope


Original Contribution by Gurur ERTEM / Reinpreted by Euna LEE



I began thinking about hope on January 11th 2016, when a group of scholars representing Academics for Peace held a press conference to read the petition, “We Will Not be a Party to this Crime.” The statement expressed academics’ worries about Turkish government E’s security operations against the youth movement L of the armed Kurdistan Worker’s Party (PKK) in the southeastern cities of Turkey. They were concerned about the devastating impact the military involvement had on the region’s civilian population.¹ The petition also called for the resumption of peace negotiations with the PKK. In reaction, the President of the Turkish State deemed these academics “pseudo-intellectuals,” “traitors,” and “terrorist-aides.” ² On January 13, 2016, an extreme nationalist/convicted criminal threatened the academics in a message posted on his website: “We will spill your blood in streams, and we will take a shower in your blood T.” ³

As I’m composing this text, I read that the indictment against the Academics for Peace has become official. The signatories face charges of seven and a half years imprisonment under Article 7 (2) of the Turkish Anti-Terror Act for “propaganda for terrorism.” This afternoon, the moment I stepped into the building where my office is, I overheard an exchange between two men who I think are shop owners downstairs:

ⓡ Article 7 (2) of Turkey’s Anti-Terrorism Law: prohibits “making propaganda for a terrorist organisation”. Is a vague and overly-broad article with no explicit requirement for propaganda to advocate violent criminal methods. It has been used repeatedly to prosecute the expression of non-violent opinions.

ⓡ Political Freedom: 5/7 https://www.opendemocracy.net/en/can-europe-make-it/turkeys-presidential-dictatorship/

fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy

I was at dinner with Sedat Peker.”

I wish you sent him my greetings.”

I guess at first she is contextualizing her thoughts

ⓞ Quite hard to understand without the turkish political background understanding ☹ ➞ sad but true

ⓡ Sedat Peker: is a convicted Turkish criminal leader. He is also known for his political views that are based on Pan-Turkism.https://en.wikipedia.org/wiki/Sedat_Peker

ⓡ Pan-Turkism is a movement which emerged during the 1880s among Turkic intellectuals of the Russian region of Shirvan (now central Azerbaijan) and the Ottoman Empire (modern day Turkey), with its aim being the cultural and political unification of all Turkic peoples. Pan-Turkism is often perceived as a new form of Turkish imperial ambition. Some view the Young Turk leaders who saw pan-Turkist ideology as a way to reclaim the prestige of the Ottoman Empire as racist and chauvinistic.

ⓥ Deem: consider

ⓥ Pseudo-intellectuals: fake-intellectuals

ⓥ Depict: describe

Sedat Peker is the name of the nationalist mafia boss who had threatened the academics. I thought about the current Istanbul Biennial organized around the theme “A Good Neighbor.” It is a pity that local issues such as living with neighbors who want to “take a shower in your blood” were missing from there.

I began taking hope seriously on July 16, 2016, the night of the “coup attempt” against President Erdoğan. The public still doesn’t know what exactly happened on that night. Perhaps, hope was one of the least appropriate words to depict the mood of the day in a context where “shit had hit the fan.” (I’m sorry I lack more elegant terms to describe that night and what followed).⁴ Perhaps, it was because, as the visionary writer John Berger once wrote: “hope is something that occurs in very dark moments. It is like a flame in the darkness; it isn’t like a confidence and a promise.”

ⓞ Origin of word Hope. Maybe we can find some analogies in all the words' origins. Which of them come from some primitive needs like ATATA?

ⓞ Hope as something which is always growing/emerging from a terrified/bad moment? More than an illusion or plan to make? ➞ Yes! like Pandora could finally find the hope at the very bottom of her chaotic box ➞ cool image ☺

ⓥ shit had hit the fan: horrible disaster ➞ ahahah thanks finally I got it!

fig.2 shit had hit the fan

On November 4th, 2016, Selahattin Demirtaş and Figen Yüksekdağ, the co-chairs of the HDP (The People’s Democratic Party), ⁵ were imprisoned. Five days later, the world woke up to the results of the US Presidential election, which was not surprising at all for us mortals located somewhere near the Middle East. I began to compile obsessively a bibliography on hope⁶ - a “Hope Syllabus” of sorts - as a response to the numerous ‘Trump Syllabi’ that started circulating online P among academic circles.⁷ So, why “hope,” and why now? How can we release hope from Pandora’s jar? How can we even begin talking about hope when progressive mobilizations are crushed by sheer force before they find the opportunity to grow into fully-fledged social movements? What resources and visions can hope offer where an economic logic has become the overarching trope to measure happiness and success? How could hope guide us when access to arms is as easy as popcorn? Can hope find the ground to take root and flourish in times of market fundamentalism? What could hope mean when governments and their media extensions are spreading lies, deceptions, and jet-black propaganda? Can hope beat the growing cynicism aggravated by distrust in politics? In brief, are there any reasons to be hopeful despite the evidence? I don’t expect anyone to be able to answer these questions. I definitely can’t. I can only offer preliminary remarks and suggest some modest beginnings to rekindle hope by reflecting on some readings I’ ve assigned myself as part of the “Hope Syllabus” I’ ve been compiling for an ongoing project I tentatively titled as “A Sociology of Hope.” I am thankful that Words for the Future gives me the opportunity to pin down in some form my many scattered, contradictory, and whirling thoughts on hope.

ⓡ According to Wiki, From 2013 to 2015, the HDP participated in peace negotiations between the Turkish government and the Kurdistan Workers' Party (PKK). The ruling AKP accuses the HDP of having direct links with the PKK.

ⓞ Which was not surprising at all for us mortals located somewhere near the Middle East. Why?? Are there any surprising results of election? ➞ I would say cause its not a big surprise ending up with bad leaders/politics, is it? ➞ Probably due to the incessant uprising of right-wing or populists parties? Or in general, relating to a wide-spreading politics that put economics behind earth-care? Tracing and redefining borders while not being concerned about climate change?

ⓥ sheer: pure

ⓥ aggravate: worsen

ⓥ rekindle: recall, reawaken

In what follows, in dialogue with Giorgio Agamben’s work, I argue that if we are true contemporaries, our task is to see in the dark and make hope accessible P again. Then, I briefly review Chantal Mouffe’s ideas on radical democracy P E to discuss how the image of a “democracy to come” is connected with the notion of hope as an engagement with the world instead of a cynical withdrawal from it regardless of expectations about final results or outcomes. I conclude by reflecting on how critical social thought and the arts could contribute to new social imaginaries by paying attention to “islands of hope” in the life worlds of our contemporaries.

ⓞ Hope as a way to engage people to build a “democracy to come” - without expectations for the result. Its an ongoing process.

ⓞ Do islands of hope mean subjetive thinking about hope? Subjective thinking and also act-making. Regarding our future; in which we use hope as a light to help us move inside. ➞ I think, it’s just a metaphoric word! For saying a small part of the world in plenty of darkness ➞ Yeess

ⓞ Nowadays, for me, there are a lack of terms to actually define overated/cliche words such as hope... ➞ Agree! The actual situation is too unpreditable ☹

ⓡ Chantal Mouffe Radical Democracy https://www.e-ir.info/2013/02/26/radical-democracy-in-contemporary-times/
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The Contemporaneity of “Hope”

In the essay “What is the Contemporary?” Agamben describes contemporaneity not as an epochal marker but as a particular relationship with one’s time. It is defined by an experience of profound dissonance. This dissonance plays out at different levels in his argument. First, it entails seeing the darkness in the present without being blinded by its lights while at the same time perceiving in this darkness a light that strives but can not yet reach us. Nobody can deny that we’ re going through some dark times; it’s become all we perceive and talk about lately. Hope—as an idea, verb, action, or attitude—rings out of tune with the reality of the present. But, if we follow Agamben’s reasoning, the perception of darkness and hopelessness would not suffice to qualify us as “true contemporaries.” What we need, then, is to find ways of seeing in the dark⁸.

Second level of dissonance Agamben evokes is related to history and memory. The non-coincidence with one’s time does not mean the contemporary is nostalgic or utopian; she is aware of her entanglement in a particular time yet seeks to bring a certain historical sensibility to it. Echoing Walter Benjamin’s conception of time as heterogeneous, Agamben argues that being contemporary means putting to work a particular relationship among different times: citing, recycling, making relevant again moments from the past L, revitalizing that which is declared as lost to history.

ⓞ Find the ways in the darkness through history! ➞ yes, by remembering and being aware of the past ➞ The past is part of the present.

ⓞ In which point of the human development have we started “asking” for more than is needed? How do we define the progress? The continuos improvement of human' knowledge? Also, when, in order to supply while being fed by population’s ever-changing needs, did we destroy the world?

I totally agree with this philosophy of contemporaneity. Only in the case of climate change, we don’t have a past example to cite, recycle or to make relavant. It’s all about the present and future considerations.

Agamben’s observations about historicity are especially relevant regarding hope. As many other writers and thinkers have noted, hopelessness and its cognates such as despair and cynicism are very much linked to amnesia. As Henry A. Giroux argues in The Violence of Organized Forgetting, under the conditions of neoliberalism, militarization, securitization, and the colonization of life worlds by the economistic logic, forms of historical, political M E P, and moral forgetting are not only willfully practiced but also celebrated⁹. Mainstream media M U media’s approach to the news and violence as entertainment exploits our “negativity bias” ¹⁰ and makes us lose track of hopeful moments and promising social movements. Memory has become particularly threatening because it offers the potential to recover the promise of lost legacies of resistance. The essayist and activist Rebecca Solnit underscores the strong relation between hope and remembrance. As she writes in Hope in the Dark, a full engagement with the world requires seeing not only the rise of extreme inequality and political and ecological disasters; but also remembering victories such as Occupy Wall Street, Black Lives Matter, and Edward Snowden¹¹. To Solnit’s list of positives I would add the post-Gezi HDP “victory” in the June 7, 2015 elections in Turkey and the Bernie Sanders campaign in the US. Without the memory of these achievements we can indeed only despair.

ⓥ willfully: on purpose

ⓞ Mainstream media ➞ as mechanisims of forgetting ➞ Yes, but on purpose or by accident? ➞ difficult to state it, but i would say sometimes on purpuse, in order to have same (bad) results, as the case of the presidential results for example. what’s your position? ➞ Yes, not every time, but on purpose sometimes. Like, the news talks a lot about a rocket launch (only the fact, without its context) of N.Korea before election, so that the constituents hesitate a political change ➞ Yes, and also the media doesn’t tend to talk much about what went wrong in the past with political decisions if that doesn’t work for a specific group of politics, I mean, they don’t act as a tool for remembrance, they usually avoid past facts. I would say they work as a mechanism of forgetting. In fact, accumulating non-important news quickly is for me another process of forgetting, isn’t it? ➞ Yes yes, I got what you say ☺ ➞ true, the structure of news itself has that characteristic. We can say, “that’s the reason why we need a hyperlink!” ➞ what do you mean? ➞ I think, if we have some kind of system to see the relationship with other incidents (maybe through the hyperlink), we can easily find the hope! ➞ True!

Although the media continually hype the “migration crisis” and “post-truth” disguising the fact there is nothing so new about them; it does not report on the acts of resistance taking place every day. Even when the media represent them, they convey these events T as though the activists and struggles come out of nowhere. For instance, as Stephen Zunes illuminates, the Arab Uprisings were the culmination of slow yet persistent work of activists¹². Likewise, although it became a social reality larger than the sum of its constituents, the Gezi Uprising was the culmination of earlier local movements such as the Taksim Solidarity, LGBTQ T, environmental movements, among numerous others A. These examples ascertain that little efforts do add up even if they seem insignificant. We must be willing to come to terms with the fact that we may not see the ‘results’ of our work in our lifetime. In that sense, being hopeful entails embracing A T O uncertainty U L, contingency, and a non-linear understanding of history. We can begin to cultivate R E A L hope when we separate the process from the outcome. In that regard, hope is similar to the creative process.¹³ In a project-driven world where one’s sense of worth depends on “Likes” and constant approval from the outside, focusing on one’s actions for their own sake seems to have become passé. But, I contend that if we could focus more on the intrinsic value of our work instead of measurable outcomes, we could find hope and meaning in the journey itself.

ⓞ The contemporary sense of hope in those terms is to put different visions of hope in a space to talk to each other in some sort of “genealogy” of hope? Hope chatting? I mean, how hope envisions itself could interact with each other through time and context, it actually relates a lot with Atata. don’t you think? in terms of giving and reciving? ➞ Agree, like we find a soultion (a hope) from the ancient seed ➞ Absolutely! And in general from primitive life and needs, happyness was strictly related to needs fulfillment, rather than to anything additional than we really need, like today. ➞ Well, for me Atata means being in relation to others by giving and reciving something. Not as a fact of an economic transaction, but more as a natural flow. So in this case putting together differents visions of hope, the ones that went through history and the ones than came to each other in each mind as “islands of hope”, will explore different inter-relational ways of hope that would come as solutions, outputs, ideas and so on. Somehow the Atata of hope becomes an awareness of the otherness.

ⓡ Taksim Solidarity: It voices a yearning for a greener, more liveable and democratic city and country and is adamant about continuing the struggle for the preservation of Gezi Park and Taksim Square and ensuring that those responsible for police violence are held accountable. (https://www.jadaliyya.com/Details/29192)

fig.3 Taksim Solidarity: We are going to challenge all of our colors for our future, our children

ⓞ If democracy is an ideal = What kind of democracy could we design? In my ideal I want schools, (free) hospitals, libraries and some kind of democratic media (these are re-inventions of existing institutional models).

ⓞ Camilo, however, suggests a different economic model; a change of daily routines....

ⓞ What bridges can be built between “islands of hope” / What are the processes that are used on these “islands of hope?”

ⓞ Camilo: Collaborativist; to collaborate with those who share your same ideas, but also, being open to working with others ideas, projects and beliefs. And that’s in other words, accepting and converging with the otherness as well. ➞ Yes, but remember C. Mouffe suggests that a good, functioning democracy must have “conflict and disagreement” also. But in my ideal, less than we currently have ☺ ➞ Yes, antithetic forces are necessary... ☺

ⓞ For me, democratic food market; like everyone can get true nutritious information (is the harm of milk and the meat true or just a city myth?)

I would like a repair and reuse culture.!! NOTE: this might be a good question (what “island of hope” would you make) for the other groups when it comes to relating the different texts to each other.

ⓞ Memory as a key to Hope. Remembrance > Remembering victories (what went well) in order to manage better through the dark as Agamen says? ➞ For Covid situation (teleworking and limited trip..), we can’t find a victory in anywhere! So desperate. ➞ it’s true, but we do have past pandemic experiences, of course in a different context with other difficulties.

ⓞ Embrace the uncertainty of hope as a result/definition? ➞ it echoes me the “Otherness” text. Both require the act of being open and the patient. ➞ Yesss, in fact this a key connection point. ➞ Good! Can you say more about this connection? ➞ Probably having in mind that the recognition of the other takes time, as well as embracing the uncertainty. Becoming aware of the blurred future in terms of hope. Otherness text invites us to approach the world in a openminded manner.

ⓥ constituents: voter

ⓥ intrinsic: original, primary
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Radical Politics and Social Hope

Over a series works since the mid-1980s, Chantal Mouffe has challenged existing notions of the “political” and called for reviving the idea of “radical democracy.” Drawing on Gramsci’s theoretizations of hegemony, Mouffe places conflict and disagreement, rather than consensus and finality, at the center of her analysis. While “politics” for Mouffe refers to the set of practices and institutions through which a society is created and governed, the “political” entails the ineradicable dimension of antagonism in any given social order. We are no longer able to think “politically” due to the uncontested hegemony of liberalism where the dominant tendency is a rationalist and individualist approach that is unable to come to terms with the pluralistic and conflict-ridden nature of the social world. This results in what Mouffe calls “the post-political condition.” The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension. The question is not how to negotiate a compromise among competing interests, nor is it how to reach a rational, fully inclusive consensus. What democracy requires is not overcoming the us/them distinction of antagonism, but drawing this distinction in such a way that is compatible with the recognition of pluralism L O P. In other words, the question is how can we institute a democracy that acknowledges the ineradicable dimension of conflict, yet be able to establish a pluralist public space in which these opposing forces can meet in a nonviolent way. For Mouffe, this entails transforming antagonism to “agonism” ¹⁴. It means instituting a situation where opposing political subjects recognize the legitimacy of their opponent, who is now an adversary rather than an enemy, although no rational consensus or a final agreement can be reached.

ⓞ !!! The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension.!!! (words made bold by steve)

We should acknowledge the otherness and not judge others. Like in Otherness, Dutch mom doesn’t need to judge Pirahas mom who left her child to play with a knife. ➞ yes and also in those words having a different sense of conflict, giving them the name of an adversary rather than enemy is being aware of the differences. And that’s the otherness consciousness. ➞ The otherness, in this case, the adversaries, must be recognized as a fundamental part of the whole demochratic system. The purpose shouldn’t be only the final aggreement, but the clear representation of all needs and thoughts.

ⓥ ineradicable: unable to be destroyed

ⓥ come to terms with: to resolve a conflict with, to accept sth painful

Another crucial dimension in Mouffe’s understanding of the political is “hegemony.” Every social order is a hegemonic one established by a series of practices and institutions within a context of contingency. In other words, every order is a temporary and precarious articulation. What is considered at a given moment as ‘natural’ or as ‘common sense R P’ is the result of sedimented historical practices based on the exclusion of other possibilities that can be reactivated in different times and places when conditions are ripe. That is, every hegemonic order can be challenged by counterhegemonic practices that will attempt to disarticulate the existing order to install another form of hegemony.

ⓞ Order as a something only temporary.

ⓥ contigency: possible event

It may not be fair to chop a complex argument into a bite-size portion, but for this essay I take the liberty to summarize Mouffe’s concept of radical democracy as the “impossibility of democracy.” It means that a genuinely pluralistic democracy is something that can never be completely fulfilled (if it is to remain pluralistic at all). That is, if everyone were to agree on a given order it would not be pluralistic in the first place; there wouldn’t be any differences. This would culminate in a static situation that could even bring about a totalitarian society. Nevertheless, although its not going to be completely realized, it will always remain as a process that we work towards. Recognizing the contingent nature of any given order also makes it possible not to abandon hope since if there is no final destination, there is no need to despair. Laclau and Mouffe’s ideas about radical democracy as “a project without an end” resonate with the idea of hope: Hope as embracing contingency and uncertainty in our political struggles, without the expectation of specific outcomes or a final destination.

ⓥ culminate in: end with a particular result

In the wake of the Jörg Haider movement in Austria, a right-wing mobilization against the enlargement of the EU to include its Muslim neighbors, Ernesto Laclau and Chantal Mouffe addressed the concept of hope and its relation to passions and politics in a more direct manner¹⁵. They argued that it is imperative to give due credit to the importance of symbols—material and immaterial representations that evoke certain meanings and emotions such as a flag, a song, a style of speaking, etc.— in the construction of human subjectivity L U A and political identities. They proposed the term “passion” to refer to an array of affective forces (such as desires, fantasies, dreams, and aspirations) that can not be reduced to economic self-interest or rational pursuits. One of the most critical shortcomings of the political discourse of the Left has been its assumption that human beings are rational creatures and its lack of understanding the role of passions in the neoliberal imaginary, as Laclau and Mouffe argue. It’s astounding how the Left has been putting the rationality of human beings at the center of arguments against, for instance, racism and xenophobia, without considering the role of passions as motivating forces. For instance, as I’m writing this text, the world is “surprised” by yet another election result –the German elections of September 24, 2017, when the radical right wing AfD entered the parliament as the third largest party. I agree with Mouffe that as long as we keep fighting racism, xenophobia, and nationalism on rationalistic and moralistic grounds, the Left will be facing more of such “surprises.” Instead of focusing on specific social and economic conditions that are at the origin of racist articulations, the Left has been addressing it with a moralistic discourse or with reference to abstract universal principles (i.e. about human rights). Some even use scientific arguments based on evidence to prove that race doesn’t exist; as though people are going to stop being racist once they become aware of this information.

ⓡ Jörg Haider: leader of The Austrian Freedom Party (FPÖ)

ⓡ Europe’s far-right vows to push referendum on Turkey’s EU accession: https://www.dw.com/en/europes-far-right-vows-to-push-referendum-on-turkeys-eu-accession/a-6142752

ⓡ the Freedom Party of Austria (FPÖ) has harvested more than 20 % of the vote by brandishing the spectre of “an invasion” of Turkish migrants who would threaten “the social peace.”, seems FPÖ always has been infriendly https://voxeurop.eu/en/the-turk-austrias-favorite-whipping-boy/

fig.4 Heinz-Christian Strache (2nd from left) of the far-right FPÖ leads an anti-Muslim rally in Belgium, Voxeurop

At the same time, as Laclau and Mouffe contend, hope is also an ingrained part of any social and political struggle. Nonetheless, it can be mobilized in very different and oppositional ways. When the party system E of representative democracy fails to provide vehicles to articulate demands and hopes, there will be other affects that are going to be activated, and hopes will be channeled to “alt-right” movements and religious fundamentalisms, Laclau and Mouffe suggest. However, I argue that its not hope what the right-wing mobilizes. Even if it is hope, it is an “anti-social kind of hope” as the historian Ronald Aronson has recently put it¹⁶. I rather think that it is not hope but the human inclination for “illusion O U” that the right-wing exploits. During the Gezi protests in June 2013, I realized it would be a futile effort to appeal to reason to explain Erdoğan supporters what the protests meant for the participants. It was not a “coupt attempt,” or a riot provoked by “foreign spies.” Dialogue is possible if all sides share at least a square millimeter of common ground, but this was far from the case. On June 1, 2013, the Prime Minister and the pro-government media started to circulate a blatant lie, now known as the “Kabataş lie.” Allegedly, a group of topless male Gezi protesters clad in black skinny leather pants attacked a woman in headscarf across the busy Kabataş Port (!) I don’t think even Erdoğan supporters believed it, but what was most troubling is that it did not matter whether it was true or not. The facts were irrelevant: the anti-Gezi camp wanted to believe it. It became imperative for me to revisit the social psychology literature as mere sociological analysis and political interpretations failed to come to terms with the phenomenon. I found out Freud had a concept for it: “illusion.”

ⓥ Alt-right: The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white nationalist movement based in the United States. (according to Wikipedia)

ⓥ riot: behave violently in a public place

ⓞ The right-wing’s fear of embracing the outside makes people become blind and disappointed for future. > but, this fear comes from the illusion (maybe true, maybe not) > + According to Freud, this illusion depends on how we draw it

Although Freud’s concept of “illusion” is mostly about religion, it’s also a useful concept to understand the power of current political rhetoric. In everyday parlance, we understand illusions as optical distortions or false beliefs. Departing from this view, Freud argues illusions are beliefs we adopt because we want them to be true. For Freud illusions can be either true or false; what matters is not their veracity or congruence with reality but their psychological causes¹⁷. Religious beliefs fulfill the deeply entrenched, urgent wishes of human beings. As inherently fragile, vulnerable creatures people hold on to religious beliefs as an antidote to their helplessness¹⁸. Granted our psychological inclination for seeking a source of power for protection, its not surprising that the right-wing discourse stokes feelings of helplessness and fear continuously and strives to infantilize populations, rendering people susceptible to political illusions.¹⁹ As the philosopher of psychology David Livingston Smith asserts, the appeal of Trump²⁰ (and other elected demagogues across the world) as well as the denial that he could win the elections come from this same psychological source, namely, Freud’s concept of illusion²¹. We suffer from an illusion when we believe something is the case just because we wish it to be so. In other words, illusions have right-wing and left-wing variants, and one could say the overblown confidence in the hegemony of reason has been the illusion of the Left.

ⓞ Hegemony and illusion relate for me because hegemony is ideological, meaning that it is invisible, it is an expression of ideology which has been normalised.

ⓞ Illusion in religion in otherness! The author said “Everyone needed Jesus and if they didn’t believe in him, they were deservedly going to eternal torment.”

ⓥ veracity: accurancy

ⓥ congruence: balance

ⓥ infantilize: treat like a child
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Critical Social Thought, Art, and Hope

As someone who traverses the social sciences and the arts, I observe both fields are practicing a critical way of thinking that exposes the contingent nature of the way things are, and reveal that nothing is inevitable.²² However, at the same time, by focusing only on the darkness of the times—as it has become common practice lately when, for instance, a public symposium on current issues in the contemporary dance field becomes a collective whining session—I wonder if we may be contributing to the aggravation of cynicism that has become symptomatic of our epoch. Are we, perhaps, equating adopting a hopeless position with being intellectually profound as the anthropologist Michael Taussig once remarked?

If critical social thought is to remain committed to the ethos of not only describing and analyzing the world but also contributing to making it a better place, it could be supplemented with studies that underscore how a better world might be already among us. It would require an empirical sensibility—a documentary and ethnographic approach of sorts—that pay attention to the moments when “islands of hope” are established and the social conditions that make their emergence possible.²³ One could pay attention to the overlooked, quiet, and hopeful developments that may help us to carve spaces where the imagination is not colonized by the neoliberal, nationalist, and militarist siege. That is, for a non-cynical social and artistic inquiry, one could explore how communities E A make sense of their experiences and come to terms with trauma and defeat. These developments may not necessarily be present in the art world, but could offer insights to it. Sometimes communities, through mobilizing their self-resources, provide more meaningful interpretations T M O and creative coping strategies M than the art world’s handling of these issues. It is necessary for us to understand how, despite the direst of circumstances, people can still find meaning and purpose in their lives. It is essential to explore these issues not only in a theoretical manner but through an empirical sensibility: by deploying ethnographic modes of research, paying close attention to the life worlds of our contemporaries to explore their intellectual, practical, imaginative, and affective strategies to make lives livable. Correspondingly, one could focus on the therapeutic and redeeming dimensions L of art as equally crucial to its function as social critique. For this, one could pay more attention to the significant role of poeisis - the creative act that affirms our humanity and dignity — ²⁴to rework trauma into symbolic forms.

ⓥ empirical: practical, not theorical

One such endeavor I came across is the storytelling movement I observed in Turkey.²⁵ More and more people have taken up storytelling, and more and more national and international organizations are popping up. The first national storytelling conference took place last May at Yildiz University. I was struck when I went there to understand what was going on. People from all scales of the political spectrum were sitting in sort of an “assembly of fairy tales.” It has also struck me that while some journalists, the “truth tellers” are being imprisoned; imprisoned politicians are turning into storytellers, finding solace in giving form to their experiences through poeisis. Selahattin Demirtaş, the co-chair of the People’s Democratic Party (HDP), penned three short stories while in prison since last November, which, I think are quite successful from a literary point of view. Alongside other essays and additional short stories, Demirtaş’s prison writings culminated in the recent publication Seher (September 2017) ²⁶. The choice of the book’s title is also telling: In Turkish “Seher” means the period just before dawn when the night begins to change into day.

ⓥ endeavor: attempt, effort

In The Human Condition the political philosopher Hannah Arendt addresses the question of how storytelling speaks to the struggle to exist as one among many; preserving one’s unique identity P, while at the same time fulfilling one’s obligations as a citizen in a new home country. Much of she wrote after she went to the US in 1941 as a refugee bears the mark of her experience of displacement and loss. And it’s at this time when she offers invaluable insights into the (almost) universal impulse to translate overwhelming personal and social experiences into forms that can be voiced and reworked in the company of others. It was, perhaps, Walter Benjamin who first detected the demise of the art of storytelling as a symptom of the loss of the value of experience. In his 1936 essay “The Storyteller” he reflects on the role of storytelling in community building and the implications of its decline. He observes that with the emergence of newspapers and the journalistic jargon, people stopped listening to stories but began receiving the news. With the news, any event already comes with some explanation. With the news and our timelines, explanation and commentary replaced assimilating, interpreting, understanding. Connections get lost, leading to a kind of amnesia, which leads, in turn, to pessimism and cynicism, because it also makes us lose track of hopeful moments, struggles, and victories. The power of the story is to survive beyond its moment and to connect the dots, redeeming the past. It pays respect and shows responsibility A to different temporalities and publics, that of the past and the future as well as today’s.

ⓥ demise: end, death

Here, I’m not making a case for going back to narrative forms in performance or a call for storytelling above and beyond any other forms. The emphasis here is more on storytelling as an example of a social act of poeisis rather than the product of narrative activity. The critical question for me today is can artists, curators, and social thinkers bring to life the stories that are waiting to be told? Sometimes, instead of focusing on how to increase visitors to our venues, it could be more rewarding to take our imagination to go visiting. I conclude my reflections on hope with a quote from Arundathi Roy:

“Writers imagine that they cull stories from the world. I’m beginning to believe vanity makes them think so. That its actually the other way around. Stories cull writers from the world. Stories reveal themselves to us. The public narrative, the private narrative—they colonize us. They commission us. They insist on being told.” ²⁷

I leave it to you for now to imagine the shapes it could take.

ⓞ The recovery of the humanity helps to approach to hope > Like by storytelling (especially, the writer mentions it as art), which is warmer and left us to think > Connected to idea of ATATA, let’s refine nature

fig.5 Pandora, Lawrence Alma-Tadema
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+Gurur Ertem + +is a social scientist and performance studies scholar specializing in the sociology of culture and the arts; and the body and social theory. she is the founding co-director of iDANS (Istanbul) where she has been responsible for curatorial research and publications. Being immersed in the contemporary dance culture for (almost) two decades as dancer, dramaturge, programmer, and scholar, she edited several books on the topic such as Dance on Time (2010); Solo? in Contemporary Dance (2008), and Yirminci Yüzyılda Dans Sanatı (2007). Ertem specialized in the sociology of culture and arts; the body and social theory; and critical theory. She obtained her Ph.D. in Sociology from The New School for Social Research (New York) in 2016. Her current research focuses on cultures of protest and the body and political psychology. Ertem is selected as an Akademie Schloss Solitude Fellow in the Humanities for the period 2017-2019. + +References + +Adorno, Theodor W. 1991 [1951]. “Freudian Theory and the Pattern of Fascist Propaganda.” In The Culture Industry, edited by J. M. Bernstein. London: Routledge. + +Ertem, Gurur. 2017. “Gezi Uprising: Performative Democracy and Politics of the Body in an Extended Space of Appearance.” In Media Practices, Social Movements, and Performativity: Transdisciplinary Approaches, edited by Margreth Lünenborg, Susanne Foellmer, Christoph Raetzsch, pp. 81-99. London: Routledge. + +Laclau, Ernesto, and Chantal Mouffe. 2014 (1987). Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso. + +Loeb, Paul Rogat. 2014. “The Real Rosa Parks.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press. + +Money-Kyrle, Roger. 1978. “The Psychology of Propaganda,” In The Collected Papers of Roger Money-Kyrle, edited by Strath Tay, 165-66. Perthshire: The Clunie Press. + +Sinclair, Jennifer. 2008. “Towards an Affirmative Sociology: The Role of Hope in Making a Better World.” Paper presented at TASA Sociologists Conference, August 2008. +(https://tasa.org.au/wp-content/uploads/2011/05/Sinclair-Jennifer-Session-84.pdf) + +Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Footnotes + +[1]: 1,128 academics from 89 universities in Turkey, and over 355 academics and researchers from abroad including some well-known figures such as Noam Chomsky, Judith Butler, Etienne Balibar, and David Harvey signed the petition. For the full text of the declaration and more information about Academics for Peace see the website: (https://barisicinakademisyenler.net/node/63) + +[2]: For excerpts of Erdogan’s speech in reaction to the Academics for Peace Petition see (in Turkish): Merkezi, Haber. "Erdoğan'dan Akademisyenlere: Ey Aydın Müsveddeleri." Bianet - Bagimsiz Iletisim Agi. January 12, 2016. Accessed November 2017.(http://bit.ly/2zkwpdT) + +[3]: ”Notorious criminal threatens academics calling for peace in Turkey's southeast." Hürriyet Daily News. January 13, 2016. Accessed November 2017. (http://bit.ly/2yww6gX) + +[4]: The military coup attempt on July 15, 2016 allowed the government to declare the state of emergency and rule the country by executive degrees, further crushing the opposition M, outlawing associational activities, and the rights of assembly. Hundreds of thousands of academics, public sectors workers, journalists, and teachers were purged. For more information see the website “Turkey Purge,” which is currently inaccessible from Turkey: (https://turkeypurge.com/) + +[5]: HDP is the third largest party in the Turkish Parliament representing some 13% of the electorate. + +[6]: A copy of this bibliography can be found here: (http://www.gururertem.info/syllabi.html) + +[7]: See for instance, the “Trump 101” published by The Chronicle of Higher Education on June 19, 2016. (http://www.chronicle.com/article/Trump-Syllabus/236824/) A group of African American intellectuals criticized the “Trump 101” syllabus for its omission of issues regarding racial and gender equalities and referred to it “as white as the man himself.” Subsequently they published an amended version of the syllabus entitled “Trump 2.0” (http://www.publicbooks.org/trump-syllabus-2-0/) + +[8]: Agamben, Giorgio. 2009. “What is the Contemporary?” In What is an Apparatus?: and Other Essays. Stanford, CA: Stanford University Press. + +[9]: Giroux, Henry A. 2014. The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine. San Francisco: City Lights Books. + +[10]: Negativity bias refers to the asymmetrical way we perceive negative experiences versus positive ones, an evolutionary trait we developed for survival. Negative experiences, events, and images exert a stronger and lasting impact on us than positive experiences of the same magnitude. + +[11]: Solnit, Rebecca. 2016. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago, Ill: Haymarket Books. iBook. + +[12]: Zunes, Stephen. 2014. “Arab Revolutions.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +[13]: One could argue that the creative process and artistic production are not exempt from this instrumental logic that focuses on measurable outcomes. While I agree with this observation, with the “creative process” I use here I mean a more ‘old-fashioned’ understanding of the term. + +[14]: Laclau, Ernesto, and Chantal Mouffe. 2002. “Hope, Passion, Politics.” In Hope: New Philosophies for Change, edited by Mary Zournazi, 122-148. Annandale, NSW: Pluto Press Australia. + +[15]: Ibid. + +[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. + +[17]: Freud, Sigmund. 1964. “The Future of an Illusion,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 21, edited by James Stratchey. London: The Hogarth Press and the Institute of Psycho-Analysis. + +[18]: Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +[19]: For an astute empirical analysis of the phenomenon in Nazi speech rallies, see Roger Money-Kyrle’s Psychology of Propaganda (1941). Also see Theodor W. Adorno’s 1951 essay “Freudian Theory and the Pattern of Fascist Propaganda.” + +[20]: Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” + +[21]: Freud, “The Future of Illusion” + +[22]: I’ve discussed elsewhere the similarities of “sociological imagination” (Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press.) and institutional critique in the arts. See: Gurur Ertem, “European Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989-2013),” (PhD diss, The New School for Social Research), p.30. + +[23]: Back, Les. 2015. “Blind Optimism and the Sociology of Hope.” DiscoverSociety, December 1, 2015. (http://discoversociety.org/2015/12/01/blind-pessimism-and-the-sociology-of-hope/) + +[24]: See Stephen K. Levine’s Trauma, Tragedy, Therapy: The Arts and Human Suffering for an extended discussion of poeisis with regards to coming to terms to trauma through the creative act. + +[25]: See the transcript of my talk “Field Notes on Instituting” delivered at the Inventory #2 Conference, Tanzhaus nrw Düsseldorf, June 1, 2017. (http://www.gururertem.info/uploads/8/8/7/6/88765342/gurur_ertem_field_notes_on_instituting_inventur_2.pdf) + +[26]: Demirtaş, Selahattin. 2017. Seher. Ankara: Dipnot Yayınları. + +[27]: Roy, Arundhati. 2002. “Come September.” Talk delivered at Lannan Foundation Lecture, Lensic Performing Arts Center, Santa Fe, New Mexico. September 18, 2002. (http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf) + + + + diff --git a/HOPE/index_gene0.html b/HOPE/index_gene0.html new file mode 100644 index 0000000..940d089 --- /dev/null +++ b/HOPE/index_gene0.html @@ -0,0 +1,273 @@ + + + + + + + + + + + + + + +

Hope


by Gurur Ertem

👽 began thinking about hope on January 11th 2016, when a group of scholars representing Academics for Peace held a press conference to read the petition, “👮‍♂️ Will Not be a Party to this Crime.” The statement expressed academics’ worries about Turkish government E’s security operations against the youth movement L of the armed Kurdistan Worker’s Party (PKK) in the southeastern cities of Turkey. ⭐️ were concerned about the devastating impact the military involvement had on the region’s civilian population.¹ The petition also called for the resumption of peace negotiations with the PKK. In reaction, the President of the Turkish State deemed these academics “pseudo-intellectuals,” “traitors,” and “terrorist-aides.” ² On January 13, 2016, an extreme nationalist/convicted criminal threatened the academics in a message posted on his website: “👮‍♂️ will spill your blood in streams, and 💃 will take a shower in your blood T.” ³

As 👽’m composing this text, 👽 read that the indictment against the Academics for Peace has become official. The signatories face charges of seven and a half years imprisonment under Article 7 (2) of the Turkish Anti-Terror Act for “propaganda for terrorism.” This afternoon, the moment 👽 stepped into the building where my office is, 👽 overheard an exchange between two men who 👽 think are shop owners downstairs:

ⓡ Article 7 (2) of Turkey’s Anti-Terrorism Law: prohibits “making propaganda for a terrorist organisation”. Is a vague and overly-broad article with no explicit requirement for propaganda to advocate violent criminal methods. 👩‍👩‍👧‍👧 has been used repeatedly to prosecute the expression of non-violent opinions.

ⓡ Political Freedom: 5/7 https://www.opendemocracy.net/en/can-europe-make-it/turkeys-presidential-dictatorship/

fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy

“👽 was at dinner with Sedat Peker.”

“👽 wish 🤓 sent 🦖 my greetings.”

ⓞ 👽 guess at first 🦖 is contextualizing her thoughts

ⓞ Quite hard to understand without the turkish political background understanding ☹ ➞ sad but true

ⓡ Sedat Peker: is a convicted Turkish criminal leader. 🦖 is also known for his political views that are based on Pan-Turkism.https://en.wikipedia.org/wiki/Sedat_Peker

ⓡ Pan-Turkism is a movement which emerged during the 1880s among Turkic intellectuals of the Russian region of Shirvan (now central Azerbaijan) and the Ottoman Empire (modern day Turkey), with its aim being the cultural and political unification of all Turkic peoples. Pan-Turkism is often perceived as a new form of Turkish imperial ambition. Some view the Young Turk leaders who saw pan-Turkist ideology as a way to reclaim the prestige of the Ottoman Empire as racist and chauvinistic.

ⓥ Deem: consider

ⓥ Pseudo-intellectuals: fake-intellectuals

ⓥ Depict: describe

Sedat Peker is the name of the nationalist mafia boss who had threatened the academics. 👽 thought about the current Istanbul Biennial organized around the theme “A Good Neighbor.” 👩‍👩‍👧‍👧 is a pity that local issues such as living with neighbors who want to “take a shower in your blood” were missing from there.

👽 began taking hope seriously on July 16, 2016, the night of the “coup attempt” against President Erdoğan. The public still doesn’t know what exactly happened on that night. Perhaps, hope was one of the least appropriate words to depict the mood of the day in a context where “shit had hit the fan.” (👽’m sorry 👽 lack more elegant terms to describe that night and what followed).⁴ Perhaps, 👩‍🎓 was because, as the visionary writer John Berger once wrote: “hope is something that occurs in very dark moments. 👩‍👩‍👧‍👧 is like a flame in the darkness; 👩‍🎓 isn’t like a confidence and a promise.”

ⓞ Origin of word Hope. Maybe 💃 can find some analogies in all the words' origins. Which of 👨‍👧‍👦 come from some primitive needs like ATATA?

ⓞ Hope as something which is always growing/emerging from a terrified/bad moment? More than an illusion or plan to make? ➞ Yes! like Pandora could finally find the hope at the very bottom of her chaotic box ➞ cool image ☺

ⓥ shit had hit the pan: horrible disaster ➞ ahahah thanks finally 👽 got 👩‍🎓!

fig.2 shit had hit the fan

On November 4th, 2016, Selahattin Demirtaş and Figen Yüksekdağ, the co-chairs of the HDP (The People’s Democratic Party), ⁵ were imprisoned. Five days later, the world woke up to the results of the US Presidential election, which was not surprising at all for 💃 mortals located somewhere near the Middle East. 👽 began to compile obsessively a bibliography on hope⁶ - a “Hope Syllabus” of sorts - as a response to the numerous ‘Trump Syllabi’ that started circulating online P among academic circles.⁷ So, why “hope,” and why now? How can 💃 release hope from Pandora’s jar? How can 💃 even begin talking about hope when progressive mobilizations are crushed by sheer force before 🙍‍♀️ find the opportunity to grow into fully-fledged social movements? What resources and visions can hope offer where an economic logic has become the overarching trope to measure happiness and success? How could hope guide 💃 when access to arms is as easy as popcorn? Can hope find the ground to take root and flourish in times of market fundamentalism? What could hope mean when governments and their media extensions are spreading lies, deceptions, and jet-black propaganda? Can hope beat the growing cynicism aggravated by distrust in politics? In brief, are there any reasons to be hopeful despite the evidence? 👽 don’t expect anyone to be able to answer these questions. 👽 definitely can’t. 👽 can only offer preliminary remarks and suggest some modest beginnings to rekindle hope by reflecting on some readings 👽’ ve assigned ⛄️ as part of the “Hope Syllabus” 👽’ ve been compiling for an ongoing project 👽 tentatively titled as “A Sociology of Hope.” 👽 am thankful that Words for the Future gives 🤓 the opportunity to pin down in some form my many scattered, contradictory, and whirling thoughts on hope.

ⓡ According to Wiki, From 2013 to 2015, the HDP participated in peace negotiations between the Turkish government and the Kurdistan Workers' Party (PKK). The ruling AKP accuses the HDP of having direct links with the PKK.

ⓞ Which was not surprising at all for 💃 mortals located somewhere near the Middle East. Why?? Are there any surprising results of election? ➞ 👽 would say cause 👩‍🎓’s not a big surprise ending up with bad leaders/politics, is 👩‍🎓? ➞ Probably due to the incessant uprising of right-wing or populists parties? Or in general, relating to a wide-spreading politics that put economics behind earth-care? Tracing and redefining borders while not being concerned about climate change?

ⓥ sheer: pure

ⓥ aggravate: worsen

ⓥ rekindle: recall, reawaken

In what follows, in dialogue with Giorgio Agamben’s work, 👽 argue that if 💃 are true contemporaries, our task is to see in the dark and make hope accessible P again. Then, 👽 briefly review Chantal Mouffe’s ideas on radical democracy P E to discuss how the image of a “democracy to come” is connected with the notion of hope as an engagement with the world instead of a cynical withdrawal from 👩‍🎓 regardless of expectations about final results or outcomes. 👽 conclude by reflecting on how critical social thought and the arts could contribute to new social imaginaries by paying attention to “islands of hope” in the life worlds of our contemporaries.

ⓞ Hope as a way to engage people to build a “democracy to come” - without expectations for the result. 👩‍👩‍👧‍👧’s an ongoing process.

ⓞ Do islands of hope mean subjetive thinking about hope? Subjective thinking and also act-making. Regarding our future; in which 💃 use hope as a light to help 💃 move inside. ➞ 👽 think, 👩‍🎓’s just a metaphoric word! For saying a small part of the world in plenty of darkness ➞ Yeess

ⓞ Nowadays, for 🤓, there are a lack of terms to actually define overated/cliche words such as hope... ➞ Agree! The actual situation is too unpreditable ☹

ⓡ Chantal Mouffe Radical Democracy https://www.e-ir.info/2013/02/26/radical-democracy-in-contemporary-times/
+

The Contemporaneity of “Hope”

In the essay “What is the Contemporary?” Agamben describes contemporaneity not as an epochal marker but as a particular relationship with one’s time. 👩‍👩‍👧‍👧 is defined by an experience of profound dissonance. This dissonance plays out at different levels in his argument. First, 👩‍🎓 entails seeing the darkness in the present without being blinded by its lights while at the same time perceiving in this darkness a light that strives but can not yet reach 💃. Nobody can deny that 💃’ re going through some dark times; 👩‍🎓’s become all 💃 perceive and talk about lately. Hope—as an idea, verb, action, or attitude—rings out of tune with the reality of the present. But, if 💃 follow Agamben’s reasoning, the perception of darkness and hopelessness would not suffice to qualify 💃 as “true contemporaries.” What 💃 need, then, is to find ways of seeing in the dark⁸.

Second level of dissonance Agamben evokes is related to history and memory. The non-coincidence with one’s time does not mean the contemporary is nostalgic or utopian; 🦖 is aware of her entanglement in a particular time yet seeks to bring a certain historical sensibility to 👩‍🎓. Echoing Walter Benjamin’s conception of time as heterogeneous, Agamben argues that being contemporary means putting to work a particular relationship among different times: citing, recycling, making relevant again moments from the past L, revitalizing that which is declared as lost to history.

ⓞ Find the ways in the darkness through history! ➞ yes, by remembering and being aware of the past ➞ The past is part of the present.

ⓞ In which point of the human development have 💃 started “asking” for more than is needed? How do 💃 define the progress? The continuos improvement of human' knowledge? Also, when, in order to supply while being fed by population’s ever-changing needs, did we destroy the world?

ⓞ 👽 totally agree with this philosophy of contemporaneity. Only in the case of climate change, 💃 don’t have a past example to cite, recycle or to make relavant. 👩‍👩‍👧‍👧’s all about the present and future considerations.

Agamben’s observations about historicity are especially relevant regarding hope. As many other writers and thinkers have noted, hopelessness and its cognates such as despair and cynicism are very much linked to amnesia. As Henry A. Giroux argues in The Violence of Organized Forgetting, under the conditions of neoliberalism, militarization, securitization, and the colonization of life worlds by the economistic logic, forms of historical, political M E P, and moral forgetting are not only willfully practiced but also celebrated⁹. Mainstream media M U’s approach to the news and violence as entertainment exploits our “negativity bias” ¹⁰ and makes 💃 lose track of hopeful moments and promising social movements. Memory has become particularly threatening because 👩‍🎓 offers the potential to recover the promise of lost legacies of resistance. The essayist and activist Rebecca Solnit underscores the strong relation between hope and remembrance. As 🦖 writes in Hope in the Dark, a full engagement with the world requires seeing not only the rise of extreme inequality and political and ecological disasters; but also remembering victories such as Occupy Wall Street, Black Lives Matter, and Edward Snowden¹¹. To Solnit’s list of positives 👽 would add the post-Gezi HDP “victory” in the June 7, 2015 elections in Turkey and the Bernie Sanders campaign in the US. Without the memory of these achievements 💃 can indeed only despair.

ⓥ willfully: on purpose

ⓞ Mainstream media ➞ as mechanisims of forgetting ➞ Yes, but on purpose or by accident? ➞ difficult to state 👩‍🎓, but i would say sometimes on purpuse, in order to have same (bad) results, as the case of the presidential results for example. what’s your position? ➞ Yes, not every time, but on purpose sometimes. Like, the news talks a lot about a rocket launch (only the fact, without its context) of N.Korea before election, so that the constituents hesitate a political change ➞ Yes, and also the media doesn’t tend to talk much about what went wrong in the past with political decisions if that doesn’t work for a specific group of politics, 👽 mean, 🙍‍♀️ don’t act as a tool for remembrance, 🙍‍♀️ usually avoid past facts. Then 👽 would say 🙍‍♀️ work as a mechanism of forgetting. In fact, accumulating non-important news quickly is for 🤓 another process of forgetting, isn’t 👩‍🎓? ➞ Yes yes, 👽 got what 🤓 say ☺ ➞ true, the structure of news 👬 has that characteristic. 👮‍♂️ can say, “that’s the reason why 💃 need a hyperlink!” ➞ what do 🤓 mean? ➞ 👽 think, if 💃 have some kind of system E to see the relationship with other incidents (maybe through the hyperlink), 💃 can easily find the hope! ➞ True!

Although the media continually hype the “migration crisis” and “post-truth” disguising the fact there is nothing so new about 👨‍👧‍👦; 👩‍🎓 does not report on the acts of resistance taking place every day. Even when the media represent 👨‍👧‍👦, 🙍‍♀️ convey these events T as though the activists and struggles come out of nowhere. For instance, as Stephen Zunes illuminates, the Arab Uprisings were the culmination of slow yet persistent work of activists¹². Likewise, although 👩‍🎓 became a social reality larger than the sum of its constituents, the Gezi Uprising was the culmination of earlier local movements such as the Taksim Solidarity, LGBTQ T, environmental movements, among numerous others A. These examples ascertain that little efforts do add up even if 🙍‍♀️ seem insignificant. 👮‍♂️ must be willing to come to terms with the fact that 💃 may not see the ‘results’ of our work in our lifetime. In that sense, being hopeful entails embracing A T O uncertainty U L, contingency, and a non-linear understanding of history. 👮‍♂️ can begin to cultivate R E A L hope when 💃 separate the process from the outcome. In that regard, hope is similar to the creative process.¹³ In a project-driven world where one’s sense of worth depends on “Likes” and constant approval from the outside, focusing on one’s actions for their own sake seems to have become passé. But, 👽 contend that if 💃 could focus more on the intrinsic value of our work instead of measurable outcomes, 💃 could find hope and meaning in the journey itself.

ⓞ The contemporary sense of hope in those terms is to put different visions of hope in a space to talk to each other in some sort of “genealogy” of hope? Hope chatting? 👽 mean, how hope envisions itself could interact with each other through time and context, 👩‍🎓 actually relates a lot with Atata. don’t 🤓 think? in terms of giving and reciving? ➞ Agree, like 💃 find a soultion (a hope) from the ancient seed ➞ Absolutely! And in general from primitive life and needs, happyness was strictly related to needs fulfillment, rather than to anything additional than 💃 really need, like today. ➞ Well, for 🤓 Atata means being in relation to others by giving and reciving something. Not as a fact of an economic transaction, but more as a natural flow. So in this case putting together differents visions of hope, the ones that went through history and the ones than came to each other in each mind as “islands of hope”, will explore different inter-relational ways of hope that would come as solutions, outputs, ideas and so on. Somehow the Atata of hope becomes an awareness of the otherness.

ⓡ Taksim Solidarity: 👩‍👩‍👧‍👧 voices a yearning for a greener, more liveable and democratic city and country and is adamant about continuing the struggle for the preservation of Gezi Park and Taksim Square and ensuring that those responsible for police violence are held accountable. (https://www.jadaliyya.com/Details/29192)

fig.4 Heinz-Christian Strache (2nd from left) of the far-right FPÖ leads an anti-Muslim rally in Belgium, Voxeurop

ⓞ If democracy is an ideal = What kind of democracy could 💃 design? In my ideal 👽 want schools, (free) hospitals, libraries and some kind of democratic media (these are re-inventions of existing institutional models).

ⓞ Camilo, however, suggests a different economic model; a change of daily routines....

ⓞ What bridges can be built between “islands of hope” / What are the processes that are used on these “islands of hope?”

ⓞ Camilo: Collaborativist; to collaborate with those who share your same ideas, but also, being open to working with others ideas, projects and beliefs. And that’s in other words, accepting and converging with the otherness as well. ➞ Yes, but remember C. Mouffe suggests that a good, functioning democracy must have “conflict and disagreement” also. But in my ideal, less than 💃 currently have ☺ ➞ Yes, antitetic forces are necessary... ☺

ⓞ For 🤓, democratic food market; like everyone can get a true nutritious information (is the harm of milk and the meat true or just a city myth?)

ⓞ 👽 would like a repair and reuse culture.!! NOTE: this might be a good question (what “island of hope” would 🤓 make) for the other groups when 👩‍🎓 comes to relating the different texts to eachother.

ⓞ Memory as a key of Hope. Remembrance > Remembering victories (what went well) in order to managing better through the dark as Agamen says? ➞ For Covid situation (teleworking and limited trip..), 💃 can’t find a victory in anywhere! So desperate. ➞ 👩‍🎓’s true, but 💃 do have past pandemic experiences, of course in a different context with other difficulties.

ⓞ Embrace the uncertainty of hope as a result/definition? ➞ 👩‍🎓 reminds 🤓 the “Otherness” text. Both require the open and the patience. Yesss, in fact this a key connection point. ➞ good, can 🤓 say more about this connection? Probably having in mind that the recognition of the other takes time as well as embracing the uncertainty. Being aware of the blur future in terms of hope. Otherness text invites 💃 to approach the world openminded

ⓥ constituents: voter

ⓥ intrinsic: original, primary
+

Radical Politics and Social Hope

Over a series works since the mid-1980s, Chantal Mouffe has challenged existing notions of the “political” and called for reviving the idea of “radical democracy.” Drawing on Gramsci’s theoretizations of hegemony, Mouffe places conflict and disagreement, rather than consensus and finality, at the center of her analysis. While “politics” for Mouffe refers to the set of practices and institutions through which a society is created and governed, the “political” entails the ineradicable dimension of antagonism in any given social order. 👮‍♂️ are no longer able to think “politically” due to the uncontested hegemony of liberalism where the dominant tendency is a rationalist and individualist approach that is unable to come to terms with the pluralistic and conflict-ridden nature of the social world. This results in what Mouffe calls “the post-political condition.” The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension. The question is not how to negotiate a compromise among competing interests, nor is 👩‍🎓 how to reach a rational, fully inclusive consensus. What democracy requires is not overcoming the us/them distinction of antagonism, but drawing this distinction in such a way that is compatible with the recognition of pluralism L O P. In other words, the question is how can 💃 institute a democracy that acknowledges the ineradicable dimension of conflict, yet be able to establish a pluralist public space in which these opposing forces can meet in a nonviolent way. For Mouffe, this entails transforming antagonism to “agonism” ¹⁴. 👩‍👩‍👧‍👧 means instituting a situation where opposing political subjects recognize the legitimacy of their opponent, who is now an adversary rather than an enemy, although no rational consensus or a final agreement can be reached.

ⓞ!!! The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension.!!! (words made bold by steve)

ⓞ 👮‍♂️ should acknowledge the otherness and not judge the others. Like in Otherness, Dutch mom don’t need to judge Pirahas mom who left her child to play with knife. ➞ yes and also in those words having a different sense of conflict, giving 👨‍👧‍👦 the name of adversary rather than enemy is being aware of the differences 👯‍♀️. And that’s the otherness consciousness. ➞ The otherness, in this case the adversaries, must be recognized as a foundamental part of the whole demochratic system. The purpose shouldn’t be only the final aggreement but the clear rapresentation of all needs and thoughts.

ⓥ ineradicable: unable to be destroyed

ⓥ come to terms with: to resolve a conflict with, to accept sth painful

Another crucial dimension in Mouffe’s understanding of the political is “hegemony.” Every social order is a hegemonic one established by a series of practices and institutions within a context of contingency. In other words, every order is a temporary and precarious articulation. What is considered at a given moment as ‘natural’ or as ‘common sense R P’ is the result of sedimented historical practices based on the exclusion of other possibilities that can be reactivated in different times and places when conditions are ripe. That is, every hegemonic order can be challenged by counterhegemonic practices that will attempt to disarticulate the existing order to install another form of hegemony.

ⓞ Order as a something only temporary.

ⓥ contigency: possible event

👩‍👩‍👧‍👧 may not be fair to chop a complex argument into a bite-size portion, but for this essay 👽 take the liberty to summarize Mouffe’s concept of radical democracy as the “impossibility of democracy.” 👩‍👩‍👧‍👧 means that a genuinely pluralistic democracy is something that can never be completely fulfilled (if 👩‍🎓 is to remain pluralistic at all). That is, if everyone were to agree on a given order 👩‍🎓 would not be pluralistic in the first place; there wouldn’t be any differences. This would culminate in a static situation that could even bring about a totalitarian society. Nevertheless, although 👩‍🎓’s not going to be completely realized, 👩‍🎓 will always remain as a process that 💃 work towards. Recognizing the contingent nature of any given order also makes 👩‍🎓 possible not to abandon hope since if there is no final destination, there is no need to despair. Laclau and Mouffe’s ideas about radical democracy as “a project without an end” resonate with the idea of hope: Hope as embracing contingency and uncertainty in our political struggles, without the expectation of specific outcomes or a final destination.

ⓥ culminate in: end with a particular result

In the wake of the Jörg Haider movement in Austria, a right-wing mobilization against the enlargement of the EU to include its Muslim neighbors, Ernesto Laclau and Chantal Mouffe addressed the concept of hope and its relation to passions and politics in a more direct manner¹⁵. ⭐️ argued that 👩‍🎓 is imperative to give due credit to the importance of symbols—material and immaterial representations that evoke certain meanings and emotions such as a flag, a song, a style of speaking, etc.— in the construction of human subjectivity L U A and political identities. ⭐️ proposed the term “passion” to refer to an array of affective forces (such as desires, fantasies, dreams, and aspirations) that can not be reduced to economic self-interest or rational pursuits. One of the most critical shortcomings of the political discourse of the Left has been its assumption that human beings are rational creatures and its lack of understanding the role of passions in the neoliberal imaginary, as Laclau and Mouffe argue. 👩‍👩‍👧‍👧’s astounding how the Left has been putting the rationality of human beings at the center of arguments against, for instance, racism and xenophobia, without considering the role of passions as motivating forces. For instance, as 👽’m writing this text, the world is “surprised” by yet another election result –the German elections of September 24, 2017, when the radical right wing AfD entered the parliament as the third largest party. 👽 agree with Mouffe that as long as 💃 keep fighting racism, xenophobia, and nationalism on rationalistic and moralistic grounds, the Left will be facing more of such “surprises.” Instead of focusing on specific social and economic conditions that are at the origin of racist articulations, the Left has been addressing 👩‍🎓 with a moralistic discourse or with reference to abstract universal principles (i.e. about human rights). Some even use scientific arguments based on evidence to prove that race doesn’t exist; as though people are going to stop being racist once 🙍‍♀️ become aware of this information.

ⓡ Jörg Haider: leader ofThe Austrian Freedom Party (FPÖ)

ⓡ Europe’s far-right vows to push referendum on Turkey’s EU accession: https://www.dw.com/en/europes-far-right-vows-to-push-referendum-on-turkeys-eu-accession/a-6142752

ⓡ the Freedom Party of Austria (FPÖ) has harvested more than 20 % of the vote by brandishing the spectre of “an invasion” of Turkish migrants who would threaten “the social peace.”, seems FPÖ always has been infriendly https://voxeurop.eu/en/the-turk-austrias-favorite-whipping-boy/

fig.3 Taksim Solidarity: We are going to challenge all of our colors for our future, our children

At the same time, as Laclau and Mouffe contend, hope is also an ingrained part of any social and political struggle. Nonetheless, 👩‍🎓 can be mobilized in very different and oppositional ways. When the party system of representative democracy fails to provide vehicles to articulate demands and hopes, there will be other affects that are going to be activated, and hopes will be channeled to “alt-right” movements and religious fundamentalisms, Laclau and Mouffe suggest. However, 👽 argue that 👩‍🎓’s not hope what the right-wing mobilizes. Even if 👩‍🎓 is hope, 👩‍🎓 is an “anti-social kind of hope” as the historian Ronald Aronson has recently put it¹⁶. 👽 rather think that 👩‍🎓 is not hope but the human inclination for “illusion O U” that the right-wing exploits. During the Gezi protests in June 2013, 👽 realized 👩‍🎓 would be a futile effort to appeal to reason to explain Erdoğan supporters what the protests meant for the participants. 👩‍👩‍👧‍👧 was not a “coupt attempt,” or a riot provoked by “foreign spies.” Dialogue is possible if all sides share at least a square millimeter of common ground, but this was far from the case. On June 1, 2013, the Prime Minister and the pro-government media started to circulate a blatant lie, now known as the “Kabataş lie.” Allegedly, a group of topless male Gezi protesters clad in black skinny leather pants attacked a woman in headscarf across the busy Kabataş Port (!) 👽 don’t think even Erdoğan supporters believed 👩‍🎓, but what was most troubling is that 👩‍🎓 did not matter whether 👩‍🎓 was true or not. The facts were irrelevant: the anti-Gezi camp wanted to believe 👩‍🎓. 👩‍👩‍👧‍👧 became imperative for 🤓 to revisit the social psychology literature as mere sociological analysis and political interpretations failed to come to terms with the phenomenon. 👽 found out Freud had a concept for 👩‍🎓: “illusion.”

ⓥ Alt-right: The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white nationalist movement based in the United States. (according to Wikipedia)

ⓥ riot: behave violently in a public place

ⓞ The right-wing’s fear of embracing outside, makes people blind and disappointed for future. ➞ but, this fear comes from the illusion (maybe true maybe not) ➞ + according to Freud, this illusion is depend on how 💃 draw 👩‍🎓

Although Freud’s concept of “illusion” is mostly about religion, 👩‍🎓’s also a useful concept to understand the power of current political rhetoric. In everyday parlance, 💃 understand illusions as optical distortions or false beliefs. Departing from this view, Freud argues illusions are beliefs 💃 adopt because 💃 want 👨‍👧‍👦 to be true. For Freud illusions can be either true or false; what matters is not their veracity or congruence with reality but their psychological causes¹⁷. Religious beliefs fulfill the deeply entrenched, urgent wishes of human beings. As inherently fragile, vulnerable creatures people hold on to religious beliefs as an antidote to their helplessness¹⁸. Granted our psychological inclination for seeking a source of power for protection, 👩‍🎓’s not surprising that the right-wing discourse stokes feelings of helplessness and fear continuously and strives to infantilize populations, rendering people susceptible to political illusions.¹⁹ As the philosopher of psychology David Livingston Smith asserts, the appeal of Trump²⁰ (and other elected demagogues across the world) as well as the denial that ⭐️ could win the elections come from this same psychological source, namely, Freud’s concept of illusion²¹. 👮‍♂️ suffer from an illusion when 💃 believe something is the case just because 💃 wish 👩‍🎓 to be so. In other words, illusions have right-wing and left-wing variants, and one could say the overblown confidence in the hegemony of reason has been the illusion of the Left.

ⓞ hegemony and illusion relate for 🤓 because hegemony is ideological, meaning that 👩‍🎓 is invisible, 👩‍🎓 is an expression of ideology which has been normalised.

ⓞ illusion in religion in otherness! the author said “Everyone needed Jesus and if 🙍‍♀️ didn’t believe in 🦖, 🙍‍♀️ were deservedly going to eternal torment.”

ⓥ veracity: accurancy

ⓥ congruence: balance

ⓥ infantilize: treat like a child
+

Critical Social Thought, Art, and Hope

As someone who traverses the social sciences and the arts, 👽 observe both fields are practicing a critical way of thinking that exposes the contingent nature of the way things are, and reveal that nothing is inevitable.²² However, at the same time, by focusing only on the darkness of the times—as 👩‍🎓 has become common practice lately when, for instance, a public symposium on current issues in the contemporary dance field becomes a collective whining session—I wonder if 💃 may be contributing to the aggravation of cynicism that has become symptomatic of our epoch. Are 💃, perhaps, equating adopting a hopeless position with being intellectually profound as the anthropologist Michael Taussig once remarked?

If critical social thought is to remain committed to the ethos of not only describing and analyzing the world but also contributing to making 👩‍🎓 a better place, 👩‍🎓 could be supplemented with studies that underscore how a better world might be already among 💃. 👩‍👩‍👧‍👧 would require an empirical sensibility—a documentary and ethnographic approach of sorts—that pay attention to the moments when “islands of hope” are established and the social conditions that make their emergence possible.²³ One could pay attention to the overlooked, quiet, and hopeful developments that may help 💃 to carve spaces where the imagination is not colonized by the neoliberal, nationalist, and militarist siege. That is, for a non-cynical social and artistic inquiry, one could explore how communities E A make sense of their experiences and come to terms with trauma and defeat. These developments may not necessarily be present in the art world, but could offer insights to 👩‍🎓. Sometimes communities, through mobilizing their self-resources, provide more meaningful interpretations T M O and creative coping strategies than the art world’s handling of these issues. 👩‍👩‍👧‍👧 is necessary for 💃 to understand how, despite the direst of circumstances, people can still find meaning and purpose in their lives. 👩‍👩‍👧‍👧 is essential to explore these issues not only in a theoretical manner but through an empirical sensibility: by deploying ethnographic modes of research, paying close attention to the life worlds of our contemporaries to explore their intellectual, practical, imaginative, and affective strategies M to make lives livable. Correspondingly, one could focus on the therapeutic and redeeming dimensions L of art as equally crucial to its function as social critique. For this, one could pay more attention to the significant role of poeisis - the creative act that affirms our humanity and dignity — ²⁴to rework trauma into symbolic forms.

ⓥ empirical: practical, not theorical

One such endeavor 👽 came across is the storytelling movement 👽 observed in Turkey.²⁵ More and more people have taken up storytelling, and more and more national and international organizations are popping up. The first national storytelling conference took place last May at Yildiz University. 👽 was struck when 👽 went there to understand what was going on. People from all scales of the political spectrum were sitting in sort of an “assembly of fairy tales.” 👩‍👩‍👧‍👧 has also struck 🤓 that while some journalists, the “truth tellers” are being imprisoned; imprisoned politicians are turning into storytellers, finding solace in giving form to their experiences through poeisis. Selahattin Demirtaş, the co-chair of the People’s Democratic Party (HDP), penned three short stories while in prison since last November, which, 👽 think are quite successful from a literary point of view. Alongside other essays and additional short stories, Demirtaş’s prison writings culminated in the recent publication Seher (September 2017) ²⁶. The choice of the book’s title is also telling: In Turkish “Seher” means the period just before dawn when the night begins to change into day.

ⓥ endeavor: attempt, effort

In The Human Condition the political philosopher Hannah Arendt addresses the question of how storytelling speaks to the struggle to exist as one among many; preserving one’s unique identity P, while at the same time fulfilling one’s obligations as a citizen in a new home country. Much of 🦖 wrote after 🦖 went to the US in 1941 as a refugee bears the mark of her experience of displacement and loss. And 👩‍🎓’s at this time when 🦖 offers invaluable insights into the (almost) universal impulse to translate overwhelming personal and social experiences into forms that can be voiced and reworked in the company of others. 👩‍👩‍👧‍👧 was, perhaps, Walter Benjamin who first detected the demise of the art of storytelling as a symptom of the loss of the value of experience. In his 1936 essay “The Storyteller” ⭐️ reflects on the role of storytelling in community building and the implications of its decline. 🦖 observes that with the emergence of newspapers and the journalistic jargon, people stopped listening to stories but began receiving the news. With the news, any event already comes with some explanation. With the news and our timelines, explanation and commentary replaced assimilating, interpreting, understanding. Connections get lost, leading to a kind of amnesia, which leads, in turn, to pessimism and cynicism, because 👩‍🎓 also makes 💃 lose track of hopeful moments, struggles, and victories. The power of the story is to survive beyond its moment and to connect the dots, redeeming the past. 👩‍👩‍👧‍👧 pays respect and shows responsibility A to different temporalities and publics, that of the past and the future as well as today’s.

ⓥ demise: end, death

Here, 👽’m not making a case for going back to narrative forms in performance or a call for storytelling above and beyond any other forms. The emphasis here is more on storytelling as an example of a social act of poeisis rather than the product of narrative activity. The critical question for 🤓 today is can artists, curators, and social thinkers bring to life the stories that are waiting to be told? Sometimes, instead of focusing on how to increase visitors to our venues, 👩‍🎓 could be more rewarding to take our imagination to go visiting. 👽 conclude my reflections on hope with a quote from Arundathi Roy:

“Writers imagine that 🙍‍♀️ cull stories from the world. 👽’m beginning to believe vanity makes 👨‍👧‍👦 think so. That 👩‍🎓’s actually the other way around. Stories cull writers from the world. Stories reveal 👯‍♀️ to 💃. The public narrative, the private narrative—they colonize 💃. ⭐️ commission 💃. ⭐️ insist on being told.” ²⁷

👽 leave 👩‍🎓 to 🤓 for now to imagine the shapes 👩‍🎓 could take.

ⓞ Recovering of the humanity helps to approach to hope ➞ like by storytelling (especially, the writer mentions 👩‍🎓 as art), which is warmer and left 💃 to think ➞ connected to idea of ATATA, let’s refind the nature

fig.5 Pandora, Lawrence Alma-Tadema
+
+
+Gurur Ertem + +is a social scientist and performance studies scholar specializing in the sociology of culture and the arts; and the body and social theory. she is the founding co-director of iDANS (Istanbul) where she has been responsible for curatorial research and publications. Being immersed in the contemporary dance culture for (almost) two decades as dancer, dramaturge, programmer, and scholar, she edited several books on the topic such as Dance on Time (2010); Solo? in Contemporary Dance (2008), and Yirminci Yüzyılda Dans Sanatı (2007). Ertem specialized in the sociology of culture and arts; the body and social theory; and critical theory. She obtained her Ph.D. in Sociology from The New School for Social Research (New York) in 2016. Her current research focuses on cultures of protest and the body and political psychology. Ertem is selected as an Akademie Schloss Solitude Fellow in the Humanities for the period 2017-2019. + +References + +Adorno, Theodor W. 1991 [1951]. “Freudian Theory and the Pattern of Fascist Propaganda.” In The Culture Industry, edited by J. M. Bernstein. London: Routledge. + +Ertem, Gurur. 2017. “Gezi Uprising: Performative Democracy and Politics of the Body in an Extended Space of Appearance.” In Media Practices, Social Movements, and Performativity: Transdisciplinary Approaches, edited by Margreth Lünenborg, Susanne Foellmer, Christoph Raetzsch, pp. 81-99. London: Routledge. + +Laclau, Ernesto, and Chantal Mouffe. 2014 (1987). Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso. + +Loeb, Paul Rogat. 2014. “The Real Rosa Parks.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press. + +Money-Kyrle, Roger. 1978. “The Psychology of Propaganda,” In The Collected Papers of Roger Money-Kyrle, edited by Strath Tay, 165-66. Perthshire: The Clunie Press. + +Sinclair, Jennifer. 2008. “Towards an Affirmative Sociology: The Role of Hope in Making a Better World.” Paper presented at TASA Sociologists Conference, August 2008. +(https://tasa.org.au/wp-content/uploads/2011/05/Sinclair-Jennifer-Session-84.pdf) + +Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Footnotes + +[1]: 1,128 academics from 89 universities in Turkey, and over 355 academics and researchers from abroad including some well-known figures such as Noam Chomsky, Judith Butler, Etienne Balibar, and David Harvey signed the petition. For the full text of the declaration and more information about Academics for Peace see the website: (https://barisicinakademisyenler.net/node/63) + +[2]: For excerpts of Erdogan’s speech in reaction to the Academics for Peace Petition see (in Turkish): Merkezi, Haber. "Erdoğan'dan Akademisyenlere: Ey Aydın Müsveddeleri." Bianet - Bagimsiz Iletisim Agi. January 12, 2016. Accessed November 2017.(http://bit.ly/2zkwpdT) + +[3]: ”Notorious criminal threatens academics calling for peace in Turkey's southeast." Hürriyet Daily News. January 13, 2016. Accessed November 2017. (http://bit.ly/2yww6gX) + +[4]: The military coup attempt on July 15, 2016 allowed the government to declare the state of emergency and rule the country by executive degrees, further crushing the opposition M, outlawing associational activities, and the rights of assembly. Hundreds of thousands of academics, public sectors workers, journalists, and teachers were purged. For more information see the website “Turkey Purge,” which is currently inaccessible from Turkey: (https://turkeypurge.com/) + +[5]: HDP is the third largest party in the Turkish Parliament representing some 13% of the electorate. + +[6]: A copy of this bibliography can be found here: (http://www.gururertem.info/syllabi.html) + +[7]: See for instance, the “Trump 101” published by The Chronicle of Higher Education on June 19, 2016. (http://www.chronicle.com/article/Trump-Syllabus/236824/) A group of African American intellectuals criticized the “Trump 101” syllabus for its omission of issues regarding racial and gender equalities and referred to it “as white as the man himself.” Subsequently they published an amended version of the syllabus entitled “Trump 2.0” (http://www.publicbooks.org/trump-syllabus-2-0/) + +[8]: Agamben, Giorgio. 2009. “What is the Contemporary?” In What is an Apparatus?: and Other Essays. Stanford, CA: Stanford University Press. + +[9]: Giroux, Henry A. 2014. The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine. San Francisco: City Lights Books. + +[10]: Negativity bias refers to the asymmetrical way we perceive negative experiences versus positive ones, an evolutionary trait we developed for survival. Negative experiences, events, and images exert a stronger and lasting impact on us than positive experiences of the same magnitude. + +[11]: Solnit, Rebecca. 2016. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago, Ill: Haymarket Books. iBook. + +[12]: Zunes, Stephen. 2014. “Arab Revolutions.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +[13]: One could argue that the creative process and artistic production are not exempt from this instrumental logic that focuses on measurable outcomes. While I agree with this observation, with the “creative process” I use here I mean a more ‘old-fashioned’ understanding of the term. + +[14]: Laclau, Ernesto, and Chantal Mouffe. 2002. “Hope, Passion, Politics.” In Hope: New Philosophies for Change, edited by Mary Zournazi, 122-148. Annandale, NSW: Pluto Press Australia. + +[15]: Ibid. + +[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. + +[17]: Freud, Sigmund. 1964. “The Future of an Illusion,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 21, edited by James Stratchey. London: The Hogarth Press and the Institute of Psycho-Analysis. + +[18]: Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +[19]: For an astute empirical analysis of the phenomenon in Nazi speech rallies, see Roger Money-Kyrle’s Psychology of Propaganda (1941). Also see Theodor W. Adorno’s 1951 essay “Freudian Theory and the Pattern of Fascist Propaganda.” + +[20]: Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” + +[21]: Freud, “The Future of Illusion” + +[22]: I’ve discussed elsewhere the similarities of “sociological imagination” (Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press.) and institutional critique in the arts. See: Gurur Ertem, “European Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989-2013),” (PhD diss, The New School for Social Research), p.30. + +[23]: Back, Les. 2015. “Blind Optimism and the Sociology of Hope.” DiscoverSociety, December 1, 2015. (http://discoversociety.org/2015/12/01/blind-pessimism-and-the-sociology-of-hope/) + +[24]: See Stephen K. Levine’s Trauma, Tragedy, Therapy: The Arts and Human Suffering for an extended discussion of poeisis with regards to coming to terms to trauma through the creative act. + +[25]: See the transcript of my talk “Field Notes on Instituting” delivered at the Inventory #2 Conference, Tanzhaus nrw Düsseldorf, June 1, 2017. (http://www.gururertem.info/uploads/8/8/7/6/88765342/gurur_ertem_field_notes_on_instituting_inventur_2.pdf) + +[26]: Demirtaş, Selahattin. 2017. Seher. Ankara: Dipnot Yayınları. + +[27]: Roy, Arundhati. 2002. “Come September.” Talk delivered at Lannan Foundation Lecture, Lensic Performing Arts Center, Santa Fe, New Mexico. September 18, 2002. (http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf) + + + + diff --git a/HOPE/index_gene1.html b/HOPE/index_gene1.html new file mode 100644 index 0000000..5eecbac --- /dev/null +++ b/HOPE/index_gene1.html @@ -0,0 +1,272 @@ + + + + + + + + + + + + + + +

Hope


by Gurur Ertem

👬 began thinking about hope on January 11th 2016, when a group of scholars representing Academics for Peace held a press conference to read the petition, “🤱 Will Not be a Party to this Crime.” The statement expressed academics’ worries about Turkish government E’s security operations against the youth movement L of the armed Kurdistan Worker’s Party (PKK) in the southeastern cities of Turkey. 👩‍👩‍👧‍👧 were concerned about the devastating impact the military involvement had on the region’s civilian population.¹ The petition also called for the resumption of peace negotiations with the PKK. In reaction, the President of the Turkish State deemed these academics “pseudo-intellectuals,” “traitors,” and “terrorist-aides.” ² On January 13, 2016, an extreme nationalist/convicted criminal threatened the academics in a message posted on his website: “🤱 will spill your blood in streams, and 👬 will take a shower in your blood T.” ³

As 👬’m composing this text, 👬 read that the indictment against the Academics for Peace has become official. The signatories face charges of seven and a half years imprisonment under Article 7 (2) of the Turkish Anti-Terror Act for “propaganda for terrorism.” This afternoon, the moment 👬 stepped into the building where my office is, 👬 overheard an exchange between two men who 👬 think are shop owners downstairs:

ⓡ Article 7 (2) of Turkey’s Anti-Terrorism Law: prohibits “making propaganda for a terrorist organisation”. Is a vague and overly-broad article with no explicit requirement for propaganda to advocate violent criminal methods. 👤 has been used repeatedly to prosecute the expression of non-violent opinions.

ⓡ Political Freedom: 5/7 https://www.opendemocracy.net/en/can-europe-make-it/turkeys-presidential-dictatorship/

fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy

“👬 was at dinner with Sedat Peker.”

“👬 wish 👩‍👩‍👧‍👧 sent 🌞 my greetings.”

ⓞ 👬 guess at first 🗿 is contextualizing her thoughts

ⓞ Quite hard to understand without the turkish political background understanding ☹ ➞ sad but true

ⓡ Sedat Peker: is a convicted Turkish criminal leader. 🙀 is also known for his political views that are based on Pan-Turkism.https://en.wikipedia.org/wiki/Sedat_Peker

ⓡ Pan-Turkism is a movement which emerged during the 1880s among Turkic intellectuals of the Russian region of Shirvan (now central Azerbaijan) and the Ottoman Empire (modern day Turkey), with its aim being the cultural and political unification of all Turkic peoples. Pan-Turkism is often perceived as a new form of Turkish imperial ambition. Some view the Young Turk leaders who saw pan-Turkist ideology as a way to reclaim the prestige of the Ottoman Empire as racist and chauvinistic.

ⓥ Deem: consider

ⓥ Pseudo-intellectuals: fake-intellectuals

ⓥ Depict: describe

Sedat Peker is the name of the nationalist mafia boss who had threatened the academics. 👬 thought about the current Istanbul Biennial organized around the theme “A Good Neighbor.” 👤 is a pity that local issues such as living with neighbors who want to “take a shower in your blood” were missing from there.

👬 began taking hope seriously on July 16, 2016, the night of the “coup attempt” against President Erdoğan. The public still doesn’t know what exactly happened on that night. Perhaps, hope was one of the least appropriate words to depict the mood of the day in a context where “shit had hit the fan.” (👬’m sorry 👬 lack more elegant terms to describe that night and what followed).⁴ Perhaps, 🕴 was because, as the visionary writer John Berger once wrote: “hope is something that occurs in very dark moments. 👤 is like a flame in the darkness; 🕴 isn’t like a confidence and a promise.”

ⓞ Origin of word Hope. Maybe 👬 can find some analogies in all the words' origins. Which of 🤱 come from some primitive needs like ATATA?

ⓞ Hope as something which is always growing/emerging from a terrified/bad moment? More than an illusion or plan to make? ➞ Yes! like Pandora could finally find the hope at the very bottom of her chaotic box ➞ cool image ☺

ⓥ shit had hit the pan: horrible disaster ➞ ahahah thanks finally 👬 got 🕴!

fig.2 shit had hit the fan

On November 4th, 2016, Selahattin Demirtaş and Figen Yüksekdağ, the co-chairs of the HDP (The People’s Democratic Party), ⁵ were imprisoned. Five days later, the world woke up to the results of the US Presidential election, which was not surprising at all for 👩‍🎓 mortals located somewhere near the Middle East. 👬 began to compile obsessively a bibliography on hope⁶ - a “Hope Syllabus” of sorts - as a response to the numerous ‘Trump Syllabi’ that started circulating online P among academic circles.⁷ So, why “hope,” and why now? How can 👬 release hope from Pandora’s jar? How can 👬 even begin talking about hope when progressive mobilizations are crushed by sheer force before 🌞 find the opportunity to grow into fully-fledged social movements? What resources and visions can hope offer where an economic logic has become the overarching trope to measure happiness and success? How could hope guide 👩‍🎓 when access to arms is as easy as popcorn? Can hope find the ground to take root and flourish in times of market fundamentalism? What could hope mean when governments and their media extensions are spreading lies, deceptions, and jet-black propaganda? Can hope beat the growing cynicism aggravated by distrust in politics? In brief, are there any reasons to be hopeful despite the evidence? 👬 don’t expect anyone to be able to answer these questions. 👬 definitely can’t. 👬 can only offer preliminary remarks and suggest some modest beginnings to rekindle hope by reflecting on some readings 👬’ ve assigned 🌞 as part of the “Hope Syllabus” 👬’ ve been compiling for an ongoing project 👬 tentatively titled as “A Sociology of Hope.” 👬 am thankful that Words for the Future gives 👩‍👩‍👧‍👧 the opportunity to pin down in some form my many scattered, contradictory, and whirling thoughts on hope.

ⓡ According to Wiki, From 2013 to 2015, the HDP participated in peace negotiations between the Turkish government and the Kurdistan Workers' Party (PKK). The ruling AKP accuses the HDP of having direct links with the PKK.

ⓞ Which was not surprising at all for 👩‍🎓 mortals located somewhere near the Middle East. Why?? Are there any surprising results of election? ➞ 👬 would say cause 🕴’s not a big surprise ending up with bad leaders/politics, is 🕴? ➞ Probably due to the incessant uprising of right-wing or populists parties? Or in general, relating to a wide-spreading politics that put economics behind earth-care? Tracing and redefining borders while not being concerned about climate change?

ⓥ sheer: pure

ⓥ aggravate: worsen

ⓥ rekindle: recall, reawaken

In what follows, in dialogue with Giorgio Agamben’s work, 👬 argue that if 👬 are true contemporaries, our task is to see in the dark and make hope accessible P again. Then, 👬 briefly review Chantal Mouffe’s ideas on radical democracy P E to discuss how the image of a “democracy to come” is connected with the notion of hope as an engagement with the world instead of a cynical withdrawal from 🕴 regardless of expectations about final results or outcomes. 👬 conclude by reflecting on how critical social thought and the arts could contribute to new social imaginaries by paying attention to “islands of hope” in the life worlds of our contemporaries.

ⓞ Hope as a way to engage people to build a “democracy to come” - without expectations for the result. 👤’s an ongoing process.

ⓞ Do islands of hope mean subjetive thinking about hope? Subjective thinking and also act-making. Regarding our future; in which 👬 use hope as a light to help 👩‍🎓 move inside. ➞ 👬 think, 🕴’s just a metaphoric word! For saying a small part of the world in plenty of darkness ➞ Yeess

ⓞ Nowadays, for 👩‍👩‍👧‍👧, there are a lack of terms to actually define overated/cliche words such as hope... ➞ Agree! The actual situation is too unpreditable ☹

ⓡ Chantal Mouffe Radical Democracy https://www.e-ir.info/2013/02/26/radical-democracy-in-contemporary-times/
+

The Contemporaneity of “Hope”

In the essay “What is the Contemporary?” Agamben describes contemporaneity not as an epochal marker but as a particular relationship with one’s time. 👤 is defined by an experience of profound dissonance. This dissonance plays out at different levels in his argument. First, 🕴 entails seeing the darkness in the present without being blinded by its lights while at the same time perceiving in this darkness a light that strives but can not yet reach 👩‍🎓. Nobody can deny that 👬’ re going through some dark times; 🕴’s become all 👬 perceive and talk about lately. Hope—as an idea, verb, action, or attitude—rings out of tune with the reality of the present. But, if 👬 follow Agamben’s reasoning, the perception of darkness and hopelessness would not suffice to qualify 👩‍🎓 as “true contemporaries.” What 👬 need, then, is to find ways of seeing in the dark⁸.

Second level of dissonance Agamben evokes is related to history and memory. The non-coincidence with one’s time does not mean the contemporary is nostalgic or utopian; 🗿 is aware of her entanglement in a particular time yet seeks to bring a certain historical sensibility to 🕴. Echoing Walter Benjamin’s conception of time as heterogeneous, Agamben argues that being contemporary means putting to work a particular relationship among different times: citing, recycling, making relevant again moments from the past L, revitalizing that which is declared as lost to history.

ⓞ Find the ways in the darkness through history! ➞ yes, by remembering and being aware of the past ➞ The past is part of the present.

ⓞ In which point of the human development have 👬 started “asking” for more than is needed? How do 👬 define the progress? The continuos improvement of human' knowledge? Also, when, in order to supply while being fed by population’s ever-changing needs, did we destroy the world?

ⓞ 👬 totally agree with this philosophy of contemporaneity. Only in the case of climate change, 👬 don’t have a past example to cite, recycle or to make relavant. 👤’s all about the present and future considerations.

Agamben’s observations about historicity are especially relevant regarding hope. As many other writers and thinkers have noted, hopelessness and its cognates such as despair and cynicism are very much linked to amnesia. As Henry A. Giroux argues in The Violence of Organized Forgetting, under the conditions of neoliberalism, militarization, securitization, and the colonization of life worlds by the economistic logic, forms of historical, political M E P, and moral forgetting are not only willfully practiced but also celebrated⁹. Mainstream media M U’s approach to the news and violence as entertainment exploits our “negativity bias” ¹⁰ and makes 👩‍🎓 lose track of hopeful moments and promising social movements. Memory has become particularly threatening because 🕴 offers the potential to recover the promise of lost legacies of resistance. The essayist and activist Rebecca Solnit underscores the strong relation between hope and remembrance. As 🗿 writes in Hope in the Dark, a full engagement with the world requires seeing not only the rise of extreme inequality and political and ecological disasters; but also remembering victories such as Occupy Wall Street, Black Lives Matter, and Edward Snowden¹¹. To Solnit’s list of positives 👬 would add the post-Gezi HDP “victory” in the June 7, 2015 elections in Turkey and the Bernie Sanders campaign in the US. Without the memory of these achievements 👬 can indeed only despair.

ⓥ willfully: on purpose

ⓞ Mainstream media ➞ as mechanisims of forgetting ➞ Yes, but on purpose or by accident? ➞ difficult to state 🕴, but i would say sometimes on purpuse, in order to have same (bad) results, as the case of the presidential results for example. what’s your position? ➞ Yes, not every time, but on purpose sometimes. Like, the news talks a lot about a rocket launch (only the fact, without its context) of N.Korea before election, so that the constituents hesitate a political change ➞ Yes, and also the media doesn’t tend to talk much about what went wrong in the past with political decisions if that doesn’t work for a specific group of politics, 👬 mean, 🌞 don’t act as a tool for remembrance, 🌞 usually avoid past facts. Then 👬 would say 🌞 work as a mechanism of forgetting. In fact, accumulating non-important news quickly is for 👩‍👩‍👧‍👧 another process of forgetting, isn’t 🕴? ➞ Yes yes, 👬 got what 👩‍👩‍👧‍👧 say ☺ ➞ true, the structure of news 👩‍👩‍👧‍👧 has that characteristic. 🤱 can say, “that’s the reason why 👬 need a hyperlink!” ➞ what do 👩‍👩‍👧‍👧 mean? ➞ 👬 think, if 👬 have some kind of system E to see the relationship with other incidents (maybe through the hyperlink), 👬 can easily find the hope! ➞ True!

Although the media continually hype the “migration crisis” and “post-truth” disguising the fact there is nothing so new about 🤱; 🕴 does not report on the acts of resistance taking place every day. Even when the media represent 🤱, 🌞 convey these events T as though the activists and struggles come out of nowhere. For instance, as Stephen Zunes illuminates, the Arab Uprisings were the culmination of slow yet persistent work of activists¹². Likewise, although 🕴 became a social reality larger than the sum of its constituents, the Gezi Uprising was the culmination of earlier local movements such as the Taksim Solidarity, LGBTQ T, environmental movements, among numerous others A. These examples ascertain that little efforts do add up even if 🌞 seem insignificant. 🤱 must be willing to come to terms with the fact that 👬 may not see the ‘results’ of our work in our lifetime. In that sense, being hopeful entails embracing A T O uncertainty U L, contingency, and a non-linear understanding of history. 🤱 can begin to cultivate R E A L hope when 👬 separate the process from the outcome. In that regard, hope is similar to the creative process.¹³ In a project-driven world where one’s sense of worth depends on “Likes” and constant approval from the outside, focusing on one’s actions for their own sake seems to have become passé. But, 👬 contend that if 👬 could focus more on the intrinsic value of our work instead of measurable outcomes, 👬 could find hope and meaning in the journey itself.

ⓞ The contemporary sense of hope in those terms is to put different visions of hope in a space to talk to each other in some sort of “genealogy” of hope? Hope chatting? 👬 mean, how hope envisions itself could interact with each other through time and context, 🕴 actually relates a lot with Atata. don’t 👩‍👩‍👧‍👧 think? in terms of giving and reciving? ➞ Agree, like 👬 find a soultion (a hope) from the ancient seed ➞ Absolutely! And in general from primitive life and needs, happyness was strictly related to needs fulfillment, rather than to anything additional than 👬 really need, like today. ➞ Well, for 👩‍👩‍👧‍👧 Atata means being in relation to others by giving and reciving something. Not as a fact of an economic transaction, but more as a natural flow. So in this case putting together differents visions of hope, the ones that went through history and the ones than came to each other in each mind as “islands of hope”, will explore different inter-relational ways of hope that would come as solutions, outputs, ideas and so on. Somehow the Atata of hope becomes an awareness of the otherness.

ⓡ Taksim Solidarity: 👤 voices a yearning for a greener, more liveable and democratic city and country and is adamant about continuing the struggle for the preservation of Gezi Park and Taksim Square and ensuring that those responsible for police violence are held accountable. (https://www.jadaliyya.com/Details/29192)

fig.4 Heinz-Christian Strache (2nd from left) of the far-right FPÖ leads an anti-Muslim rally in Belgium, Voxeurop

ⓞ If democracy is an ideal = What kind of democracy could 👬 design? In my ideal 👬 want schools, (free) hospitals, libraries and some kind of democratic media (these are re-inventions of existing institutional models).

ⓞ Camilo, however, suggests a different economic model; a change of daily routines....

ⓞ What bridges can be built between “islands of hope” / What are the processes that are used on these “islands of hope?”

ⓞ Camilo: Collaborativist; to collaborate with those who share your same ideas, but also, being open to working with others ideas, projects and beliefs. And that’s in other words, accepting and converging with the otherness as well. ➞ Yes, but remember C. Mouffe suggests that a good, functioning democracy must have “conflict and disagreement” also. But in my ideal, less than 👬 currently have ☺ ➞ Yes, antithetic forces are necessary... ☺

ⓞ For 👩‍👩‍👧‍👧, democratic food market; like everyone can get true nutritious information (is the harm of milk and the meat true or just a city myth?)

ⓞ 👬 would like a repair and reuse culture.!! NOTE: this might be a good question (what “island of hope” would 👩‍👩‍👧‍👧 make) for the other groups when 🕴 comes to relating the different texts to each other.

ⓞ Remembrance > Remembering victories (what went well) in order to manage better through the dark as Agamen says? ➞ For Covid situation (teleworking and limited trip..), 👬 can’t find a victory in anywhere! So desperate. ➞ 🕴’s true, but 👬 do have past pandemic experiences, of course in a different context with other difficulties.

ⓞ Embrace the uncertainty of hope as a result/definition? ➞ 🕴 echoes 👩‍👩‍👧‍👧 the “Otherness” text. Both require the act of being open and the patient. ➞ Yesss, in fact this a key connection point. ➞ Good! Can 👩‍👩‍👧‍👧 say more about this connection? ➞ Probably having in mind that the recognition of the other takes time, as well as embracing the uncertainty. Becoming aware of the blurred future in terms of hope. Otherness text invites 👩‍🎓 to approach the world in a openminded manner.

ⓥ constituents: voter

ⓥ intrinsic: original, primary
+

Radical Politics and Social Hope

Over a series works since the mid-1980s, Chantal Mouffe has challenged existing notions of the “political” and called for reviving the idea of “radical democracy.” Drawing on Gramsci’s theoretizations of hegemony, Mouffe places conflict and disagreement, rather than consensus and finality, at the center of her analysis. While “politics” for Mouffe refers to the set of practices and institutions through which a society is created and governed, the “political” entails the ineradicable dimension of antagonism in any given social order. 🤱 are no longer able to think “politically” due to the uncontested hegemony of liberalism where the dominant tendency is a rationalist and individualist approach that is unable to come to terms with the pluralistic and conflict-ridden nature of the social world. This results in what Mouffe calls “the post-political condition.” The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension. The question is not how to negotiate a compromise among competing interests, nor is 🕴 how to reach a rational, fully inclusive consensus. What democracy requires is not overcoming the us/them distinction of antagonism, but drawing this distinction in such a way that is compatible with the recognition of pluralism L O P. In other words, the question is how can 👬 institute a democracy that acknowledges the ineradicable dimension of conflict, yet be able to establish a pluralist public space in which these opposing forces can meet in a nonviolent way. For Mouffe, this entails transforming antagonism to “agonism” ¹⁴. 👤 means instituting a situation where opposing political subjects recognize the legitimacy of their opponent, who is now an adversary rather than an enemy, although no rational consensus or a final agreement can be reached.

ⓞ !!! The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension.!!! (words made bold by steve)

ⓞ 🤱 should acknowledge the otherness and not judge others. Like in Otherness, Dutch mom doesn’t need to judge Pirahas mom who left her child to play with a knife. ➞ yes and also in those words having a different sense of conflict, giving 🤱 the name of an adversary rather than enemy is being aware of the differences. And that’s the otherness consciousness. ➞ The otherness, in this case, the adversaries, must be recognized as a fundamental part of the whole demochratic system. The purpose shouldn’t be only the final aggreement, but the clear representation of all needs and thoughts.

ⓥ ineradicable: unable to be destroyed

ⓥ come to terms with: to resolve a conflict with, to accept sth painful

Another crucial dimension in Mouffe’s understanding of the political is “hegemony.” Every social order is a hegemonic one established by a series of practices and institutions within a context of contingency. In other words, every order is a temporary and precarious articulation. What is considered at a given moment as ‘natural’ or as ‘common sense R P’ is the result of sedimented historical practices based on the exclusion of other possibilities that can be reactivated in different times and places when conditions are ripe. That is, every hegemonic order can be challenged by counterhegemonic practices that will attempt to disarticulate the existing order to install another form of hegemony.

ⓞ Order as a something only temporary.

ⓥ contigency: possible event

👤 may not be fair to chop a complex argument into a bite-size portion, but for this essay 👬 take the liberty to summarize Mouffe’s concept of radical democracy as the “impossibility of democracy.” 👤 means that a genuinely pluralistic democracy is something that can never be completely fulfilled (if 🕴 is to remain pluralistic at all). That is, if everyone were to agree on a given order 🕴 would not be pluralistic in the first place; there wouldn’t be any differences. This would culminate in a static situation that could even bring about a totalitarian society. Nevertheless, although 🕴’s not going to be completely realized, 🕴 will always remain as a process that 👬 work towards. Recognizing the contingent nature of any given order also makes 🕴 possible not to abandon hope since if there is no final destination, there is no need to despair. Laclau and Mouffe’s ideas about radical democracy as “a project without an end” resonate with the idea of hope: Hope as embracing contingency and uncertainty in our political struggles, without the expectation of specific outcomes or a final destination.

ⓥ culminate in: end with a particular result

In the wake of the Jörg Haider movement in Austria, a right-wing mobilization against the enlargement of the EU to include its Muslim neighbors, Ernesto Laclau and Chantal Mouffe addressed the concept of hope and its relation to passions and politics in a more direct manner¹⁵. 👩‍👩‍👧‍👧 argued that 🕴 is imperative to give due credit to the importance of symbols—material and immaterial representations that evoke certain meanings and emotions such as a flag, a song, a style of speaking, etc.— in the construction of human subjectivity L U A and political identities. 👩‍👩‍👧‍👧 proposed the term “passion” to refer to an array of affective forces (such as desires, fantasies, dreams, and aspirations) that can not be reduced to economic self-interest or rational pursuits. One of the most critical shortcomings of the political discourse of the Left has been its assumption that human beings are rational creatures and its lack of understanding the role of passions in the neoliberal imaginary, as Laclau and Mouffe argue. 👤’s astounding how the Left has been putting the rationality of human beings at the center of arguments against, for instance, racism and xenophobia, without considering the role of passions as motivating forces. For instance, as 👬’m writing this text, the world is “surprised” by yet another election result –the German elections of September 24, 2017, when the radical right wing AfD entered the parliament as the third largest party. 👬 agree with Mouffe that as long as 👬 keep fighting racism, xenophobia, and nationalism on rationalistic and moralistic grounds, the Left will be facing more of such “surprises.” Instead of focusing on specific social and economic conditions that are at the origin of racist articulations, the Left has been addressing 🕴 with a moralistic discourse or with reference to abstract universal principles (i.e. about human rights). Some even use scientific arguments based on evidence to prove that race doesn’t exist; as though people are going to stop being racist once 🌞 become aware of this information.

ⓡ Jörg Haider: leader of The Austrian Freedom Party (FPÖ)

ⓡ Europe’s far-right vows to push referendum on Turkey’s EU accession: https://www.dw.com/en/europes-far-right-vows-to-push-referendum-on-turkeys-eu-accession/a-6142752

ⓡ the Freedom Party of Austria (FPÖ) has harvested more than 20 % of the vote by brandishing the spectre of “an invasion” of Turkish migrants who would threaten “the social peace.”, seems FPÖ always has been infriendly https://voxeurop.eu/en/the-turk-austrias-favorite-whipping-boy/

fig.3 Taksim Solidarity: We are going to challenge all of our colors for our future, our children

At the same time, as Laclau and Mouffe contend, hope is also an ingrained part of any social and political struggle. Nonetheless, 🕴 can be mobilized in very different and oppositional ways. When the party system of representative democracy fails to provide vehicles to articulate demands and hopes, there will be other affects that are going to be activated, and hopes will be channeled to “alt-right” movements and religious fundamentalisms, Laclau and Mouffe suggest. However, 👬 argue that 🕴’s not hope what the right-wing mobilizes. Even if 🕴 is hope, 🕴 is an “anti-social kind of hope” as the historian Ronald Aronson has recently put it¹⁶. 👬 rather think that 🕴 is not hope but the human inclination for “illusion O U” that the right-wing exploits. During the Gezi protests in June 2013, 👬 realized 🕴 would be a futile effort to appeal to reason to explain Erdoğan supporters what the protests meant for the participants. 👤 was not a “coupt attempt,” or a riot provoked by “foreign spies.” Dialogue is possible if all sides share at least a square millimeter of common ground, but this was far from the case. On June 1, 2013, the Prime Minister and the pro-government media started to circulate a blatant lie, now known as the “Kabataş lie.” Allegedly, a group of topless male Gezi protesters clad in black skinny leather pants attacked a woman in headscarf across the busy Kabataş Port (!) 👬 don’t think even Erdoğan supporters believed 🕴, but what was most troubling is that 🕴 did not matter whether 🕴 was true or not. The facts were irrelevant: the anti-Gezi camp wanted to believe 🕴. 👤 became imperative for 👩‍👩‍👧‍👧 to revisit the social psychology literature as mere sociological analysis and political interpretations failed to come to terms with the phenomenon. 👬 found out Freud had a concept for 🕴: “illusion.”

ⓥ Alt-right: The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white nationalist movement based in the United States. (according to Wikipedia)

ⓥ riot: behave violently in a public place

ⓞ The right-wing’s fear of embracing the outside makes people become blind and disappointed for future. > but, this fear comes from the illusion (maybe true, maybe not) > + According to Freud, this illusion depends on how 👬 draw 🕴

Although Freud’s concept of “illusion” is mostly about religion, 🕴’s also a useful concept to understand the power of current political rhetoric. In everyday parlance, 👬 understand illusions as optical distortions or false beliefs. Departing from this view, Freud argues illusions are beliefs 👬 adopt because 👬 want 🤱 to be true. For Freud illusions can be either true or false; what matters is not their veracity or congruence with reality but their psychological causes¹⁷. Religious beliefs fulfill the deeply entrenched, urgent wishes of human beings. As inherently fragile, vulnerable creatures people hold on to religious beliefs as an antidote to their helplessness¹⁸. Granted our psychological inclination for seeking a source of power for protection, 🕴’s not surprising that the right-wing discourse stokes feelings of helplessness and fear continuously and strives to infantilize populations, rendering people susceptible to political illusions.¹⁹ As the philosopher of psychology David Livingston Smith asserts, the appeal of Trump²⁰ (and other elected demagogues across the world) as well as the denial that 👬 could win the elections come from this same psychological source, namely, Freud’s concept of illusion²¹. 🤱 suffer from an illusion when 👬 believe something is the case just because 👬 wish 🕴 to be so. In other words, illusions have right-wing and left-wing variants, and one could say the overblown confidence in the hegemony of reason has been the illusion of the Left.

ⓞ Hegemony and illusion relate for 👩‍👩‍👧‍👧 because hegemony is ideological, meaning that 🕴 is invisible. 🕴 is an expression of ideology which has been normalised.

ⓞ Illusion in religion in otherness! The author said “Everyone needed Jesus and if 🌞 didn’t believe in 🌞, 🌞 were deservedly going to eternal torment.”

ⓥ veracity: accurancy

ⓥ congruence: balance

ⓥ infantilize: treat like a child
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Critical Social Thought, Art, and Hope

As someone who traverses the social sciences and the arts, 👬 observe both fields are practicing a critical way of thinking that exposes the contingent nature of the way things are, and reveal that nothing is inevitable.²² However, at the same time, by focusing only on the darkness of the times—as 🕴 has become common practice lately when, for instance, a public symposium on current issues in the contemporary dance field becomes a collective whining session—I wonder if 👬 may be contributing to the aggravation of cynicism that has become symptomatic of our epoch. Are 👬, perhaps, equating adopting a hopeless position with being intellectually profound as the anthropologist Michael Taussig once remarked?

If critical social thought is to remain committed to the ethos of not only describing and analyzing the world but also contributing to making 🕴 a better place, 🕴 could be supplemented with studies that underscore how a better world might be already among 👩‍🎓. 👤 would require an empirical sensibility—a documentary and ethnographic approach of sorts—that pay attention to the moments when “islands of hope” are established and the social conditions that make their emergence possible.²³ One could pay attention to the overlooked, quiet, and hopeful developments that may help 👩‍🎓 to carve spaces where the imagination is not colonized by the neoliberal, nationalist, and militarist siege. That is, for a non-cynical social and artistic inquiry, one could explore how communities E A make sense of their experiences and come to terms with trauma and defeat. These developments may not necessarily be present in the art world, but could offer insights to 🕴. Sometimes communities, through mobilizing their self-resources, provide more meaningful interpretations T M O and creative coping strategies than the art world’s handling of these issues. 👤 is necessary for 👩‍🎓 to understand how, despite the direst of circumstances, people can still find meaning and purpose in their lives. 👤 is essential to explore these issues not only in a theoretical manner but through an empirical sensibility: by deploying ethnographic modes of research, paying close attention to the life worlds of our contemporaries to explore their intellectual, practical, imaginative, and affective strategies M to make lives livable. Correspondingly, one could focus on the therapeutic and redeeming dimensions L of art as equally crucial to its function as social critique. For this, one could pay more attention to the significant role of poeisis - the creative act that affirms our humanity and dignity — ²⁴to rework trauma into symbolic forms.

ⓥ empirical: practical, not theorical

One such endeavor 👬 came across is the storytelling movement 👬 observed in Turkey.²⁵ More and more people have taken up storytelling, and more and more national and international organizations are popping up. The first national storytelling conference took place last May at Yildiz University. 👬 was struck when 👬 went there to understand what was going on. People from all scales of the political spectrum were sitting in sort of an “assembly of fairy tales.” 👤 has also struck 👩‍👩‍👧‍👧 that while some journalists, the “truth tellers” are being imprisoned; imprisoned politicians are turning into storytellers, finding solace in giving form to their experiences through poeisis. Selahattin Demirtaş, the co-chair of the People’s Democratic Party (HDP), penned three short stories while in prison since last November, which, 👬 think are quite successful from a literary point of view. Alongside other essays and additional short stories, Demirtaş’s prison writings culminated in the recent publication Seher (September 2017) ²⁶. The choice of the book’s title is also telling: In Turkish “Seher” means the period just before dawn when the night begins to change into day.

ⓥ endeavor: attempt, effort

In The Human Condition the political philosopher Hannah Arendt addresses the question of how storytelling speaks to the struggle to exist as one among many; preserving one’s unique identity P, while at the same time fulfilling one’s obligations as a citizen in a new home country. Much of 🗿 wrote after 🗿 went to the US in 1941 as a refugee bears the mark of her experience of displacement and loss. And 🕴’s at this time when 🗿 offers invaluable insights into the (almost) universal impulse to translate overwhelming personal and social experiences into forms that can be voiced and reworked in the company of others. 👤 was, perhaps, Walter Benjamin who first detected the demise of the art of storytelling as a symptom of the loss of the value of experience. In his 1936 essay “The Storyteller” 👬 reflects on the role of storytelling in community building and the implications of its decline. 🙀 observes that with the emergence of newspapers and the journalistic jargon, people stopped listening to stories but began receiving the news. With the news, any event already comes with some explanation. With the news and our timelines, explanation and commentary replaced assimilating, interpreting, understanding. Connections get lost, leading to a kind of amnesia, which leads, in turn, to pessimism and cynicism, because 🕴 also makes 👩‍🎓 lose track of hopeful moments, struggles, and victories. The power of the story is to survive beyond its moment and to connect the dots, redeeming the past. 👤 pays respect and shows responsibility A to different temporalities and publics, that of the past and the future as well as today’s.

ⓥ demise: end, death

Here, 👬’m not making a case for going back to narrative forms in performance or a call for storytelling above and beyond any other forms. The emphasis here is more on storytelling as an example of a social act of poeisis rather than the product of narrative activity. The critical question for 👩‍👩‍👧‍👧 today is can artists, curators, and social thinkers bring to life the stories that are waiting to be told? Sometimes, instead of focusing on how to increase visitors to our venues, 🕴 could be more rewarding to take our imagination to go visiting. 👬 conclude my reflections on hope with a quote from Arundathi Roy:

“Writers imagine that 🌞 cull stories from the world. 👬’m beginning to believe vanity makes 🤱 think so. That 🕴’s actually the other way around. Stories cull writers from the world. Stories reveal 👯‍♀️ to 👩‍🎓. The public narrative, the private narrative—they colonize 👩‍🎓. 👩‍👩‍👧‍👧 commission 👩‍🎓. 👩‍👩‍👧‍👧 insist on being told.” ²⁷

👬 leave 🕴 to 👩‍👩‍👧‍👧 for now to imagine the shapes 🕴 could take.

ⓞ The recovery of the humanity helps to approach to hope > Like by storytelling (especially, the writer mentions 🕴 as art), which is warmer and left 👩‍🎓 to think > Connected to idea of ATATA, let’s refine nature

fig.5 Pandora, Lawrence Alma-Tadema
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+Gurur Ertem + +is a social scientist and performance studies scholar specializing in the sociology of culture and the arts; and the body and social theory. she is the founding co-director of iDANS (Istanbul) where she has been responsible for curatorial research and publications. Being immersed in the contemporary dance culture for (almost) two decades as dancer, dramaturge, programmer, and scholar, she edited several books on the topic such as Dance on Time (2010); Solo? in Contemporary Dance (2008), and Yirminci Yüzyılda Dans Sanatı (2007). Ertem specialized in the sociology of culture and arts; the body and social theory; and critical theory. She obtained her Ph.D. in Sociology from The New School for Social Research (New York) in 2016. Her current research focuses on cultures of protest and the body and political psychology. Ertem is selected as an Akademie Schloss Solitude Fellow in the Humanities for the period 2017-2019. + +References + +Adorno, Theodor W. 1991 [1951]. “Freudian Theory and the Pattern of Fascist Propaganda.” In The Culture Industry, edited by J. M. Bernstein. London: Routledge. + +Ertem, Gurur. 2017. “Gezi Uprising: Performative Democracy and Politics of the Body in an Extended Space of Appearance.” In Media Practices, Social Movements, and Performativity: Transdisciplinary Approaches, edited by Margreth Lünenborg, Susanne Foellmer, Christoph Raetzsch, pp. 81-99. London: Routledge. + +Laclau, Ernesto, and Chantal Mouffe. 2014 (1987). Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso. + +Loeb, Paul Rogat. 2014. “The Real Rosa Parks.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press. + +Money-Kyrle, Roger. 1978. “The Psychology of Propaganda,” In The Collected Papers of Roger Money-Kyrle, edited by Strath Tay, 165-66. Perthshire: The Clunie Press. + +Sinclair, Jennifer. 2008. “Towards an Affirmative Sociology: The Role of Hope in Making a Better World.” Paper presented at TASA Sociologists Conference, August 2008. +(https://tasa.org.au/wp-content/uploads/2011/05/Sinclair-Jennifer-Session-84.pdf) + +Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Footnotes + +[1]: 1,128 academics from 89 universities in Turkey, and over 355 academics and researchers from abroad including some well-known figures such as Noam Chomsky, Judith Butler, Etienne Balibar, and David Harvey signed the petition. For the full text of the declaration and more information about Academics for Peace see the website: (https://barisicinakademisyenler.net/node/63) + +[2]: For excerpts of Erdogan’s speech in reaction to the Academics for Peace Petition see (in Turkish): Merkezi, Haber. "Erdoğan'dan Akademisyenlere: Ey Aydın Müsveddeleri." Bianet - Bagimsiz Iletisim Agi. January 12, 2016. Accessed November 2017.(http://bit.ly/2zkwpdT) + +[3]: ”Notorious criminal threatens academics calling for peace in Turkey's southeast." Hürriyet Daily News. January 13, 2016. Accessed November 2017. (http://bit.ly/2yww6gX) + +[4]: The military coup attempt on July 15, 2016 allowed the government to declare the state of emergency and rule the country by executive degrees, further crushing the opposition M, outlawing associational activities, and the rights of assembly. Hundreds of thousands of academics, public sectors workers, journalists, and teachers were purged. For more information see the website “Turkey Purge,” which is currently inaccessible from Turkey: (https://turkeypurge.com/) + +[5]: HDP is the third largest party in the Turkish Parliament representing some 13% of the electorate. + +[6]: A copy of this bibliography can be found here: (http://www.gururertem.info/syllabi.html) + +[7]: See for instance, the “Trump 101” published by The Chronicle of Higher Education on June 19, 2016. (http://www.chronicle.com/article/Trump-Syllabus/236824/) A group of African American intellectuals criticized the “Trump 101” syllabus for its omission of issues regarding racial and gender equalities and referred to it “as white as the man himself.” Subsequently they published an amended version of the syllabus entitled “Trump 2.0” (http://www.publicbooks.org/trump-syllabus-2-0/) + +[8]: Agamben, Giorgio. 2009. “What is the Contemporary?” In What is an Apparatus?: and Other Essays. Stanford, CA: Stanford University Press. + +[9]: Giroux, Henry A. 2014. The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine. San Francisco: City Lights Books. + +[10]: Negativity bias refers to the asymmetrical way we perceive negative experiences versus positive ones, an evolutionary trait we developed for survival. Negative experiences, events, and images exert a stronger and lasting impact on us than positive experiences of the same magnitude. + +[11]: Solnit, Rebecca. 2016. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago, Ill: Haymarket Books. iBook. + +[12]: Zunes, Stephen. 2014. “Arab Revolutions.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +[13]: One could argue that the creative process and artistic production are not exempt from this instrumental logic that focuses on measurable outcomes. While I agree with this observation, with the “creative process” I use here I mean a more ‘old-fashioned’ understanding of the term. + +[14]: Laclau, Ernesto, and Chantal Mouffe. 2002. “Hope, Passion, Politics.” In Hope: New Philosophies for Change, edited by Mary Zournazi, 122-148. Annandale, NSW: Pluto Press Australia. + +[15]: Ibid. + +[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. + +[17]: Freud, Sigmund. 1964. “The Future of an Illusion,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 21, edited by James Stratchey. London: The Hogarth Press and the Institute of Psycho-Analysis. + +[18]: Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +[19]: For an astute empirical analysis of the phenomenon in Nazi speech rallies, see Roger Money-Kyrle’s Psychology of Propaganda (1941). Also see Theodor W. Adorno’s 1951 essay “Freudian Theory and the Pattern of Fascist Propaganda.” + +[20]: Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” + +[21]: Freud, “The Future of Illusion” + +[22]: I’ve discussed elsewhere the similarities of “sociological imagination” (Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press.) and institutional critique in the arts. See: Gurur Ertem, “European Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989-2013),” (PhD diss, The New School for Social Research), p.30. + +[23]: Back, Les. 2015. “Blind Optimism and the Sociology of Hope.” DiscoverSociety, December 1, 2015. (http://discoversociety.org/2015/12/01/blind-pessimism-and-the-sociology-of-hope/) + +[24]: See Stephen K. Levine’s Trauma, Tragedy, Therapy: The Arts and Human Suffering for an extended discussion of poeisis with regards to coming to terms to trauma through the creative act. + +[25]: See the transcript of my talk “Field Notes on Instituting” delivered at the Inventory #2 Conference, Tanzhaus nrw Düsseldorf, June 1, 2017. (http://www.gururertem.info/uploads/8/8/7/6/88765342/gurur_ertem_field_notes_on_instituting_inventur_2.pdf) + +[26]: Demirtaş, Selahattin. 2017. Seher. Ankara: Dipnot Yayınları. + +[27]: Roy, Arundhati. 2002. “Come September.” Talk delivered at Lannan Foundation Lecture, Lensic Performing Arts Center, Santa Fe, New Mexico. September 18, 2002. (http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf) + + + + diff --git a/HOPE/index_gene10.html b/HOPE/index_gene10.html new file mode 100644 index 0000000..6e9d87d --- /dev/null +++ b/HOPE/index_gene10.html @@ -0,0 +1,277 @@ + + + + + + + + + + + + + + +

Hope


by Gurur Ertem

🕴 began thinking about hope on January 11th 2016, when a group of scholars representing Academics for Peace held a press conference to read the petition, “🐒 Will Not be a Party to this Crime.” The statement expressed academics’ worries about Turkish government E’s security operations against the youth movement L of the armed Kurdistan Worker’s Party (PKK) in the southeastern cities of Turkey. 🙍‍♀️ were concerned about the devastating impact the military involvement had on the region’s civilian population.¹ The petition also called for the resumption of peace negotiations with the PKK. In reaction, the President of the Turkish State deemed these academics “pseudo-intellectuals,” “traitors,” and “terrorist-aides.” ² On January 13, 2016, an extreme nationalist/convicted criminal threatened the academics in a message posted on his website: “🐒 will spill your blood in streams, and 👨‍🌾 will take a shower in your blood T.” ³

As 🕴’m composing this text, 🕴 read that the indictment against the Academics for Peace has become official. The signatories face charges of seven and a half years imprisonment under Article 7 (2) of the Turkish Anti-Terror Act for “propaganda for terrorism.” This afternoon, the moment 🕴 stepped into the building where my office is, 🕴 overheard an exchange between two men who 🕴 think are shop owners downstairs:

ⓡ Article 7 (2) of Turkey’s Anti-Terrorism Law: prohibits “making propaganda for a terrorist organisation”. Is a vague and overly-broad article with no explicit requirement for propaganda to advocate violent criminal methods. 🦔 has been used repeatedly to prosecute the expression of non-violent opinions.

ⓡ Political Freedom: 5/7 https: //www.opendemocracy.net/en/can-europe-make-it/turkeys-presidential-dictatorship/

fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy

“🕴 was at dinner with Sedat Peker.”

“🕴 wish 🧚‍♀️ sent 🐒 my greetings.”

ⓞ 🕴 guess at first 🗿 is contextualizing her thoughts

ⓞ Quite hard to understand without the turkish political background understanding ☹ ➞ sad but true

ⓡ Sedat Peker: is a convicted Turkish criminal leader. 🙀 is also known for his political views that are based on Pan-Turkism.https: //en.wikipedia.org/wiki/Sedat_Peker

ⓡ Pan-Turkism is a movement which emerged during the 1880s among Turkic intellectuals of the Russian region of Shirvan (now central Azerbaijan) and the Ottoman Empire (modern day Turkey), with its aim being the cultural and political unification of all Turkic peoples. Pan-Turkism is often perceived as a new form of Turkish imperial ambition. Some view the Young Turk leaders who saw pan-Turkist ideology as a way to reclaim the prestige of the Ottoman Empire as racist and chauvinistic.

ⓥ Deem: consider

ⓥ Pseudo-intellectuals: fake-intellectuals

ⓥ Depict: describe

Sedat Peker is the name of the nationalist mafia boss who had threatened the academics. 🕴 thought about the current Istanbul Biennial organized around the theme “A Good Neighbor.” 🦔 is a pity that local issues such as living with neighbors who want to “take a shower in your blood” were missing from there.

🕴 began taking hope seriously on July 16, 2016, the night of the “coup attempt” against President Erdoğan. The public still doesn’t know what exactly happened on that night. Perhaps, hope was one of the least appropriate words to depict the mood of the day in a context where “shit had hit the fan.” (🕴’m sorry 🕴 lack more elegant terms to describe that night and what followed).⁴ Perhaps, 👮‍♂️ was because, as the visionary writer John Berger once wrote: “hope is something that occurs in very dark moments. 🦔 is like a flame in the darkness; 👮‍♂️ isn’t like a confidence and a promise.”

ⓞ Origin of word Hope. Maybe 👨‍🌾 can find some analogies in all the words' origins. Which of 👩‍👩‍👧‍👧 come from some primitive needs like ATATA?

ⓞ Hope as something which is always growing/emerging from a terrified/bad moment? More than an illusion or plan to make? ➞ Yes! like Pandora could finally find the hope at the very bottom of her chaotic box ➞ cool image ☺

ⓥ shit had hit the pan: horrible disaster ➞ ahahah thanks finally 🕴 got 👮‍♂️!

fig.2 shit had hit the fan

On November 4th, 2016, Selahattin Demirtaş and Figen Yüksekdağ, the co-chairs of the HDP (The People’s Democratic Party), ⁵ were imprisoned. Five days later, the world woke up to the results of the US Presidential election, which was not surprising at all for 🧞‍♂️ mortals located somewhere near the Middle East. 🕴 began to compile obsessively a bibliography on hope⁶ - a “Hope Syllabus” of sorts - as a response to the numerous ‘ Trump Syllabi’ that started circulating online P among academic circles.⁷ So, why “hope,” and why now? How can 👨‍🌾 release hope from Pandora’s jar? How can 👨‍🌾 even begin talking about hope when progressive mobilizations are crushed by sheer force before 💃 find the opportunity to grow into fully-fledged social movements? What resources and visions can hope offer where an economic logic has become the overarching trope to measure happiness and success? How could hope guide 🧞‍♂️ when access to arms is as easy as popcorn? Can hope find the ground to take root and flourish in times of market fundamentalism? What could hope mean when governments and their media extensions are spreading lies, deceptions, and jet-black propaganda? Can hope beat the growing cynicism aggravated by distrust in politics? In brief, are there any reasons to be hopeful despite the evidence? 🕴 don’t expect anyone to be able to answer these questions. 🕴 definitely can’t. 🕴 can only offer preliminary remarks and suggest some modest beginnings to rekindle hope by reflecting on some readings 🕴’ ve assigned 👩‍🎓 as part of the “Hope Syllabus” 🕴’ ve been compiling for an ongoing project 🕴 tentatively titled as “A Sociology of Hope.” 🕴 am thankful that Words for the Future gives 🦔 the opportunity to pin down in some form my many scattered, contradictory, and whirling thoughts on hope.

ⓡ According to Wiki, From 2013 to 2015, the HDP participated in peace negotiations between the Turkish government and the Kurdistan Workers' Party (PKK). The ruling AKP accuses the HDP of having direct links with the PKK.

ⓞ Which was not surprising at all for 🧞‍♂️ mortals located somewhere near the Middle East. Why?? Are there any surprising results of election? ➞ 🕴 would say cause 👮‍♂️’s not a big surprise ending up with bad leaders/politics, is 👮‍♂️? ➞ Probably due to the incessant uprising of right-wing or populists parties? Or in general, relating to a wide-spreading politics that put economics behind earth-care? Tracing and redefining borders while not being concerned about climate change?

ⓥ sheer: pure

ⓥ aggravate: worsen

ⓥ rekindle: recall, reawaken

In what follows, in dialogue with Giorgio Agamben’s work, 🕴 argue that if 👨‍🌾 are true contemporaries, our task is to see in the dark and make hope accessible P again. Then, 🕴 briefly review Chantal Mouffe’s ideas on radical democracy P E to discuss how the image of a “democracy to come” is connected with the notion of hope as an engagement with the world instead of a cynical withdrawal from 👮‍♂️ regardless of expectations about final results or outcomes. 🕴 conclude by reflecting on how critical social thought and the arts could contribute to new social imaginaries by paying attention to “islands of hope” in the life worlds of our contemporaries.

ⓞ Hope as a way to engage people to build a “democracy to come” - without expectations for the result. 🦔’s an ongoing process.

ⓞ Do islands of hope mean subjetive thinking about hope? Subjective thinking and also act-making. Regarding our future; in which 👨‍🌾 use hope as a light to help 🧞‍♂️ move inside. ➞ 🕴 think, 👮‍♂️’s just a metaphoric word! For saying a small part of the world in plenty of darkness ➞ Yeess

ⓞ Nowadays, for 🦔, there are a lack of terms to actually define overated/cliche words such as hope... ➞ Agree! The actual situation is too unpreditable ☹

ⓡ Chantal Mouffe Radical Democracy https: //www.e-ir.info/2013/02/26/radical-democracy-in-contemporary-times/
fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy
+

The Contemporaneity of “Hope”

In the essay “What is the Contemporary?” Agamben describes contemporaneity not as an epochal marker but as a particular relationship with one’s time. 🦔 is defined by an experience of profound dissonance. This dissonance plays out at different levels in his argument. First, 👮‍♂️ entails seeing the darkness in the present without being blinded by its lights while at the same time perceiving in this darkness a light that strives but can not yet reach 🧞‍♂️. Nobody can deny that 👨‍🌾’ re going through some dark times; 👮‍♂️’s become all 👨‍🌾 perceive and talk about lately. Hope—as an idea, verb, action, or attitude—rings out of tune with the reality of the present. But, if 👨‍🌾 follow Agamben’s reasoning, the perception of darkness and hopelessness would not suffice to qualify 🧞‍♂️ as “true contemporaries.” What 👨‍🌾 need, then, is to find ways of seeing in the dark⁸.

Second level of dissonance Agamben evokes is related to history and memory. The non-coincidence with one’s time does not mean the contemporary is nostalgic or utopian; 🗿 is aware of her entanglement in a particular time yet seeks to bring a certain historical sensibility to 👮‍♂️. Echoing Walter Benjamin’s conception of time as heterogeneous, Agamben argues that being contemporary means putting to work a particular relationship among different times: citing, recycling, making relevant again moments from the past L, revitalizing that which is declared as lost to history.

ⓞ Find the ways in the darkness through history! ➞ yes, by remembering and being aware of the past ➞ The past is part of the present.

ⓞ In which point of the human development have 👨‍🌾' started “asking” for more than is needed? How do 👨‍🌾 define the progress? The continuos improvement of human' knowledge? Also, when, in order to supply while being fed by population’s ever-changing needs, did we destroy the world?

ⓞ 🕴 totally agree with this philosophy of contemporaneity. Only in the case of climate change, 👨‍🌾 don’t have a past example to cite, recycle or to make relavant. 🦔’s all about the present and future considerations.

Agamben’s observations about historicity are especially relevant regarding hope. As many other writers and thinkers have noted, hopelessness and its cognates such as despair and cynicism are very much linked to amnesia. As Henry A. Giroux argues in The Violence of Organized Forgetting, under the conditions of neoliberalism, militarization, securitization, and the colonization of life worlds by the economistic logic, forms of historical, political M E P, and moral forgetting are not only willfully practiced but also celebrated⁹. Mainstream media M U’s approach to the news and violence as entertainment exploits our “negativity bias” ¹⁰ and makes 🧞‍♂️ lose track of hopeful moments and promising social movements. Memory has become particularly threatening because 👮‍♂️ offers the potential to recover the promise of lost legacies of resistance. The essayist and activist Rebecca Solnit underscores the strong relation between hope and remembrance. As 🗿 writes in Hope in the Dark, a full engagement with the world requires seeing not only the rise of extreme inequality and political and ecological disasters; but also remembering victories such as Occupy Wall Street, Black Lives Matter, and Edward Snowden¹¹. To Solnit’s list of positives 🕴 would add the post-Gezi HDP “victory” in the June 7, 2015 elections in Turkey and the Bernie Sanders campaign in the US. Without the memory of these achievements 👨‍🌾 can indeed only despair.

ⓥ willfully: on purpose

ⓞ Mainstream media ➞ as mechanisims of forgetting ➞ Yes, but on purpose or by accident? ➞ difficult to state 👮‍♂️, but i would say sometimes on purpuse, in order to have same (bad) results, as the case of the presidential results for example. what’s your position? ➞ Yes, not every time, but on purpose sometimes. Like, the news talks a lot about a rocket launch (only the fact, without its context) of N.Korea before election, so that the constituents hesitate a political change ➞ Yes, and also the media doesn’t tend to talk much about what went wrong in the past with political decisions if that doesn’t work for a specific group of politics, 🕴 mean, 💃 don’t act as a tool for remembrance, 💃 usually avoid past facts. Then 🕴 would say 💃 work as a mechanism of forgetting. In fact, accumulating non-important news quickly is for 🦔 another process of forgetting, isn’t 👮‍♂️? ➞ Yes yes, 🕴 got what 🧚‍♀️ say ☺ ➞ true, the structure of news 🤓 hass that characteristic. 🐒 can say, “that’s the reason why 👨‍🌾 need a hyperlink!” ➞ what do 🧚‍♀️ mean? ➞ 🕴 think, if 👨‍🌾 have some kind of system E to see the relationship with other incidents (maybe through the hyperlink), 👨‍🌾 can easily find the hope! ➞ True!

Although the media continually hype the “migration crisis” and “post-truth” disguising the fact there is nothing so new about 👩‍👩‍👧‍👧; 👮‍♂️ does not report on the acts of resistance taking place every day. Even when the media represent 👩‍👩‍👧‍👧, 💃 convey these events T as though the activists and struggles come out of nowhere. For instance, as Stephen Zunes illuminates, the Arab Uprisings were the culmination of slow yet persistent work of activists¹². Likewise, although 👮‍♂️ became a social reality larger than the sum of its constituents, the Gezi Uprising was the culmination of earlier local movements such as the Taksim Solidarity, LGBTQ T, environmental movements, among numerous others A. These examples ascertain that little efforts do add up even if 💃 seem insignificant. 🐒 must be willing to come to terms with the fact that 👨‍🌾 may not see the ‘ results’ of our work in our lifetime. In that sense, being hopeful entails embracing A T O uncertainty U L, contingency, and a non-linear understanding of history. 🐒 can begin to cultivate R E A L hope when 👨‍🌾 separate the process from the outcome. In that regard, hope is similar to the creative process.¹³ In a project-driven world where one’s sense of worth depends on “Likes” and constant approval from the outside, focusing on one’s actions for their own sake seems to have become passé. But, 🕴 contend that if 👨‍🌾 could focus more on the intrinsic value of our work instead of measurable outcomes, 👨‍🌾 could find hope and meaning in the journey itself.

ⓞ The contemporary sense of hope in those terms is to put different visions of hope in a space to talk to each other in some sort of “genealogy” of hope? Hope chatting? 🕴 mean, how hope envisions itself could interact with each other through time and context, 👮‍♂️ actually relates a lot with Atata. don’t 🧚‍♀️ think? in terms of giving and reciving? ➞ Agree, like 👨‍🌾 find a soultion (a hope) from the ancient seed ➞ Absolutely! And in general from primitive life and needs, happyness was strictly related to needs fulfillment, rather than to anything additional than 👨‍🌾 really need, like today. ➞ Well, for 🦔 Atata means being in relation to others by giving and reciving something. Not as a fact of an economic transaction, but more as a natural flow. So in this case putting together differents visions of hope, the ones that went through history and the ones than came to each other in each mind as “islands of hope”, will explore different inter-relational ways of hope that would come as solutions, outputs, ideas and so on. Somehow the Atata of hope becomes an awareness of the otherness.

ⓡ Taksim Solidarity: 🦔 voices a yearning for a greener, more liveable and democratic city and country and is adamant about continuing the struggle for the preservation of Gezi Park and Taksim Square and ensuring that those responsible for police violence are held accountable. (https: //www.jadaliyya.com/Details/29192)

fig.3 Taksim Solidarity: We are going to challenge all of our colors for our future, our children

ⓞ If democracy is an ideal = What kind of democracy could 👨‍🌾 design? In my ideal 🕴 want schools, (free) hospitals, libraries and some kind of democratic media (these are re-inventions of existing institutional models).

ⓞ Camilo, however, suggests a different economic model; a change of daily routines....

ⓞ What bridges can be built between “islands of hope” / What are the processes that are used on these “islands of hope?”

ⓞ Camilo: Collaborativist. To collaborate with the ones with your same ideas, but also being open to work with others ideas, projects and believes. And that’s in other words, accepting and converging with the otherness as well. ➞ Yes, but remember C. Mouffe suggests that a good, functioning democracy must have “conflict and disagreement” also. But in my ideal, less than 👨‍🌾 currently have ☺ ➞ Yes, antithetic forces are necessary... ☺

ⓞ For 🦔, democratic food market; like everyone can get true nutritious information (is the harm of milk and the meat true or just a city myth?)

ⓞ 🕴 would like a repair and reuse culture.!! NOTE: this might be a good question (what “island of hope” would 🧚‍♀️ make) for the other groups when 👮‍♂️ comes to relating the different texts to each other.

ⓞ Remembrance > Remembering victories (what went well) in order to manage better through the dark as Agamen says? ➞ For Covid situation (teleworking and limited trip..), 👨‍🌾 can’t find a victory in anywhere! So desperate. ➞ 👮‍♂️’s true, but 👨‍🌾 do have past pandemic experiences, of course in a different context with other difficulties.

ⓞ Embrace the uncertainty of hope as a result/definition? ➞ 👮‍♂️ echoes 🦔 the “Otherness” text. Both require the act of being open and the patient. ➞ Yesss, in fact this a key connection point. ➞ Good! Can 🧚‍♀️ say more about this connection? ➞ Probably having in mind that the recognition of the other takes time, as well as embracing the uncertainty. Becoming aware of the blurred future in terms of hope. Otherness text invites 🧞‍♂️ to approach the world in a openminded manner.

ⓥ constituents: voter

ⓥ intrinsic: original, primary
+

Radical Politics and Social Hope

Over a series works since the mid-1980s, Chantal Mouffe has challenged existing notions of the “political” and called for reviving the idea of “radical democracy.” Drawing on Gramsci’s theoretizations of hegemony, Mouffe places conflict and disagreement, rather than consensus and finality, at the center of her analysis. While “politics” for Mouffe refers to the set of practices and institutions through which a society is created and governed, the “political” entails the ineradicable dimension of antagonism in any given social order. 🐒 are no longer able to think “politically” due to the uncontested hegemony of liberalism where the dominant tendency is a rationalist and individualist approach that is unable to come to terms with the pluralistic and conflict-ridden nature of the social world. This results in what Mouffe calls “the post-political condition.” The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension. The question is not how to negotiate a compromise among competing interests, nor is 👮‍♂️ how to reach a rational, fully inclusive consensus. What democracy requires is not overcoming the us/them distinction of antagonism, but drawing this distinction in such a way that is compatible with the recognition of pluralism L O P. In other words, the question is how can 👨‍🌾 institute a democracy that acknowledges the ineradicable dimension of conflict, yet be able to establish a pluralist public space in which these opposing forces can meet in a nonviolent way. For Mouffe, this entails transforming antagonism to “agonism” ¹⁴. 🦔 means instituting a situation where opposing political subjects recognize the legitimacy of their opponent, who is now an adversary rather than an enemy, although no rational consensus or a final agreement can be reached.

ⓞ !!! The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension.!!! (words made bold by steve)

ⓞ 🐒 should acknowledge the otherness and not judge others. Like in Otherness, Dutch mom doesn’t need to judge Pirahas mom who left her child to play with a knife. ➞ yes and also in those words having a different sense of conflict, giving 👩‍👩‍👧‍👧 the name of an adversary rather than enemy is being aware of the differences. And that’s the otherness consciousness. ➞ The otherness, in this case, the adversaries, must be recognized as a fundamental part of the whole demochratic system. The purpose shouldn’t be only the final aggreement, but the clear representation of all needs and thoughts.

ⓥ ineradicable: unable to be destroyed

ⓥ come to terms with: to resolve a conflict with, to accept sth painful

Another crucial dimension in Mouffe’s understanding of the political is “hegemony.” Every social order is a hegemonic one established by a series of practices and institutions within a context of contingency. In other words, every order is a temporary and precarious articulation. What is considered at a given moment as ‘natural’ or as ‘common sense R P’ is the result of sedimented historical practices based on the exclusion of other possibilities that can be reactivated in different times and places when conditions are ripe. That is, every hegemonic order can be challenged by counterhegemonic practices that will attempt to disarticulate the existing order to install another form of hegemony.

ⓞ Order as a something only temporary.

ⓥ contigency: possible event

🦔 may not be fair to chop a complex argument into a bite-size portion, but for this essay 🕴 take the liberty to summarize Mouffe’s concept of radical democracy as the “impossibility of democracy.” 🦔 means that a genuinely pluralistic democracy is something that can never be completely fulfilled (if 👮‍♂️ is to remain pluralistic at all). That is, if everyone were to agree on a given order 👮‍♂️ would not be pluralistic in the first place; there wouldn’t be any differences. This would culminate in a static situation that could even bring about a totalitarian society. Nevertheless, although 👮‍♂️’s not going to be completely realized, 👮‍♂️ will always remain as a process that 👨‍🌾 work towards. Recognizing the contingent nature of any given order also makes 👮‍♂️ possible not to abandon hope since if there is no final destination, there is no need to despair. Laclau and Mouffe’s ideas about radical democracy as “a project without an end” resonate with the idea of hope: Hope as embracing contingency and uncertainty in our political struggles, without the expectation of specific outcomes or a final destination.

ⓥ culminate in: end with a particular result

In the wake of the Jörg Haider movement in Austria, a right-wing mobilization against the enlargement of the EU to include its Muslim neighbors, Ernesto Laclau and Chantal Mouffe addressed the concept of hope and its relation to passions and politics in a more direct manner¹⁵. 🙍‍♀️ argued that 👮‍♂️ is imperative to give due credit to the importance of symbols—material and immaterial representations that evoke certain meanings and emotions such as a flag, a song, a style of speaking, etc.— in the construction of human subjectivity L U A and political identities. 🙍‍♀️ proposed the term “passion” to refer to an array of affective forces (such as desires, fantasies, dreams, and aspirations) that can not be reduced to economic self-interest or rational pursuits. One of the most critical shortcomings of the political discourse of the Left has been its assumption that human beings are rational creatures and its lack of understanding the role of passions in the neoliberal imaginary, as Laclau and Mouffe argue. 🦔’s astounding how the Left has been putting the rationality of human beings at the center of arguments against, for instance, racism and xenophobia, without considering the role of passions as motivating forces. For instance, as 🕴’m writing this text, the world is “surprised” by yet another election result –the German elections of September 24, 2017, when the radical right wing AfD entered the parliament as the third largest party. 🕴 agree with Mouffe that as long as 👨‍🌾 keep fighting racism, xenophobia, and nationalism on rationalistic and moralistic grounds, the Left will be facing more of such “surprises.” Instead of focusing on specific social and economic conditions that are at the origin of racist articulations, the Left has been addressing 👮‍♂️ with a moralistic discourse or with reference to abstract universal principles (i.e. about human rights). Some even use scientific arguments based on evidence to prove that race doesn’t exist; as though people are going to stop being racist once 💃 become aware of this information.

ⓡ Jörg Haider: leader of The Austrian Freedom Party (FPÖ)

ⓡ Europe’s far-right vows to push referendum on Turkey’s EU accession: https: //www.dw.com/en/europes-far-right-vows-to-push-referendum-on-turkeys-eu-accession/a-6142752

ⓡ the Freedom Party of Austria (FPÖ) has harvested more than 20 % of the vote by brandishing the spectre of “an invasion” of Turkish migrants who would threaten “the social peace.”, seems FPÖ always has been infriendly https: //voxeurop.eu/en/the-turk-austrias-favorite-whipping-boy/

fig.4 Heinz-Christian Strache (2nd from left) of the far-right FPÖ leads an anti-Muslim rally in Belgium, Voxeurop

At the same time, as Laclau and Mouffe contend, hope is also an ingrained part of any social and political struggle. Nonetheless, 👮‍♂️ can be mobilized in very different and oppositional ways. When the party system of representative democracy fails to provide vehicles to articulate demands and hopes, there will be other affects that are going to be activated, and hopes will be channeled to “alt-right” movements and religious fundamentalisms, Laclau and Mouffe suggest. However, 🕴 argue that 👮‍♂️’s not hope what the right-wing mobilizes. Even if 👮‍♂️ is hope, 👮‍♂️ is an “anti-social kind of hope” as the historian Ronald Aronson has recently put it¹⁶. 🕴 rather think that 👮‍♂️ is not hope but the human inclination for “illusion O U” that the right-wing exploits. During the Gezi protests in June 2013, 🕴 realized 👮‍♂️ would be a futile effort to appeal to reason to explain Erdoğan supporters what the protests meant for the participants. 🦔 was not a “coupt attempt,” or a riot provoked by “foreign spies.” Dialogue is possible if all sides share at least a square millimeter of common ground, but this was far from the case. On June 1, 2013, the Prime Minister and the pro-government media started to circulate a blatant lie, now known as the “Kabataş lie.” Allegedly, a group of topless male Gezi protesters clad in black skinny leather pants attacked a woman in headscarf across the busy Kabataş Port (!) 🕴 don’t think even Erdoğan supporters believed 👮‍♂️, but what was most troubling is that 👮‍♂️ did not matter whether 👮‍♂️ was true or not. The facts were irrelevant: the anti-Gezi camp wanted to believe 👮‍♂️. 🦔 became imperative for 🦔 to revisit the social psychology literature as mere sociological analysis and political interpretations failed to come to terms with the phenomenon. 🕴 found out Freud had a concept for 👮‍♂️: “illusion.”

ⓥ Alt-right: The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white nationalist movement based in the United States. (according to Wikipedia)

ⓥ riot: behave violently in a public place

ⓞ The right-wing’s fear of embracing the outside makes people become blind and disappointed for future. > but, this fear comes from the illusion (maybe true, maybe not) > + According to Freud, this illusion depends on how 👨‍🌾 draw 👮‍♂️

Although Freud’s concept of “illusion” is mostly about religion, 👮‍♂️’s also a useful concept to understand the power of current political rhetoric. In everyday parlance, 👨‍🌾 understand illusions as optical distortions or false beliefs. Departing from this view, Freud argues illusions are beliefs 👨‍🌾 adopt because 👨‍🌾 want 👩‍👩‍👧‍👧 to be true. For Freud illusions can be either true or false; what matters is not their veracity or congruence with reality but their psychological causes¹⁷. Religious beliefs fulfill the deeply entrenched, urgent wishes of human beings. As inherently fragile, vulnerable creatures people hold on to religious beliefs as an antidote to their helplessness¹⁸. Granted our psychological inclination for seeking a source of power for protection, 👮‍♂️’s not surprising that the right-wing discourse stokes feelings of helplessness and fear continuously and strives to infantilize populations, rendering people susceptible to political illusions.¹⁹ As the philosopher of psychology David Livingston Smith asserts, the appeal of Trump²⁰ (and other elected demagogues across the world) as well as the denial that 👨‍🌾 could win the elections come from this same psychological source, namely, Freud’s concept of illusion²¹. 🐒 suffer from an illusion when 👨‍🌾 believe something is the case just because 👨‍🌾 wish 👮‍♂️ to be so. In other words, illusions have right-wing and left-wing variants, and one could say the overblown confidence in the hegemony of reason has been the illusion of the Left.

ⓞ Hegemony and illusion relate for 🦔 because hegemony is ideological, meaning that 👮‍♂️ is invisible. 👮‍♂️ is an expression of ideology which has been normalised.

ⓞ Illusion in religion in otherness! The author said “Everyone needed Jesus and if 💃 didn’t believe in 🐒, 💃 were deservedly going to eternal torment.”

ⓥ veracity: accurancy

ⓥ congruence: balance

ⓥ infantilize: treat like a child
+

Critical Social Thought, Art, and Hope

As someone who traverses the social sciences and the arts, 🕴 observe both fields are practicing a critical way of thinking that exposes the contingent nature of the way things are, and reveal that nothing is inevitable.²² However, at the same time, by focusing only on the darkness of the times—as 👮‍♂️ has become common practice lately when, for instance, a public symposium on current issues in the contemporary dance field becomes a collective whining session—I wonder if 👨‍🌾 may be contributing to the aggravation of cynicism that has become symptomatic of our epoch. Are 👨‍🌾, perhaps, equating adopting a hopeless position with being intellectually profound as the anthropologist Michael Taussig once remarked?

If critical social thought is to remain committed to the ethos of not only describing and analyzing the world but also contributing to making 👮‍♂️ a better place, 👮‍♂️ could be supplemented with studies that underscore how a better world might be already among 🧞‍♂️. 🦔 would require an empirical sensibility—a documentary and ethnographic approach of sorts—that pay attention to the moments when “islands of hope” are established and the social conditions that make their emergence possible.²³ One could pay attention to the overlooked, quiet, and hopeful developments that may help 🧞‍♂️ to carve spaces where the imagination is not colonized by the neoliberal, nationalist, and militarist siege. That is, for a non-cynical social and artistic inquiry, one could explore how communities E A make sense of their experiences and come to terms with trauma and defeat. These developments may not necessarily be present in the art world, but could offer insights to 👮‍♂️. Sometimes communities, through mobilizing their self-resources, provide more meaningful interpretations T M O and creative coping strategies than the art world’s handling of these issues. 🦔 is necessary for 🧞‍♂️ to understand how, despite the direst of circumstances, people can still find meaning and purpose in their lives. 🦔 is essential to explore these issues not only in a theoretical manner but through an empirical sensibility: by deploying ethnographic modes of research, paying close attention to the life worlds of our contemporaries to explore their intellectual, practical, imaginative, and affective strategies M to make lives livable. Correspondingly, one could focus on the therapeutic and redeeming dimensions L of art as equally crucial to its function as social critique. For this, one could pay more attention to the significant role of poeisis - the creative act that affirms our humanity and dignity — ²⁴to rework trauma into symbolic forms.

ⓥ empirical: practical, not theorical

One such endeavor 🕴 came across is the storytelling movement 🕴 observed in Turkey.²⁵ More and more people have taken up storytelling, and more and more national and international organizations are popping up. The first national storytelling conference took place last May at Yildiz University. 🕴 was struck when 🕴 went there to understand what was going on. People from all scales of the political spectrum were sitting in sort of an “assembly of fairy tales.” 🦔 has also struck 🦔 that while some journalists, the “truth tellers” are being imprisoned; imprisoned politicians are turning into storytellers, finding solace in giving form to their experiences through poeisis. Selahattin Demirtaş, the co-chair of the People’s Democratic Party (HDP), penned three short stories while in prison since last November, which, 🕴 think are quite successful from a literary point of view. Alongside other essays and additional short stories, Demirtaş’s prison writings culminated in the recent publication Seher (September 2017) ²⁶. The choice of the book’s title is also telling: In Turkish “Seher” means the period just before dawn when the night begins to change into day.

ⓥ endeavor: attempt, effort

In The Human Condition the political philosopher Hannah Arendt addresses the question of how storytelling speaks to the struggle to exist as one among many; preserving one’s unique identity P, while at the same time fulfilling one’s obligations as a citizen in a new home country. Much of 🗿 wrote after 🗿 went to the US in 1941 as a refugee bears the mark of her experience of displacement and loss. And 👮‍♂️’s at this time when 🗿 offers invaluable insights into the (almost) universal impulse to translate overwhelming personal and social experiences into forms that can be voiced and reworked in the company of others. 🦔 was, perhaps, Walter Benjamin who first detected the demise of the art of storytelling as a symptom of the loss of the value of experience. In his 1936 essay “The Storyteller” 👨‍🌾 reflects on the role of storytelling in community building and the implications of its decline. 🙀 observes that with the emergence of newspapers and the journalistic jargon, people stopped listening to stories but began receiving the news. With the news, any event already comes with some explanation. With the news and our timelines, explanation and commentary replaced assimilating, interpreting, understanding. Connections get lost, leading to a kind of amnesia, which leads, in turn, to pessimism and cynicism, because 👮‍♂️ also makes 🧞‍♂️ lose track of hopeful moments, struggles, and victories. The power of the story is to survive beyond its moment and to connect the dots, redeeming the past. 🦔 pays respect and shows responsibility A to different temporalities and publics, that of the past and the future as well as today’s.

ⓥ demise: end, death

Here, 🕴’m not making a case for going back to narrative forms in performance or a call for storytelling above and beyond any other forms. The emphasis here is more on storytelling as an example of a social act of poeisis rather than the product of narrative activity. The critical question for 🦔 today is can artists, curators, and social thinkers bring to life the stories that are waiting to be told? Sometimes, instead of focusing on how to increase visitors to our venues, 👮‍♂️ could be more rewarding to take our imagination to go visiting. 🕴 conclude my reflections on hope with a quote from Arundathi Roy:

“Writers imagine that 💃 cull stories from the world. 🕴’m beginning to believe vanity makes 👩‍👩‍👧‍👧 think so. That 👮‍♂️’s actually the other way around. Stories cull writers from the world. Stories reveal 👨‍🚀 to 🧞‍♂️. The public narrative, the private narrative—they colonize 🧞‍♂️. 🙍‍♀️ commission 🧞‍♂️. 🙍‍♀️ insist on being told.” ²⁷

🕴 leave 👮‍♂️ to 🧚‍♀️ for now to imagine the shapes 👮‍♂️ could take.

ⓞ The recovery of the humanity helps to approach to hope > Like by storytelling (especially, the writer mentions 👮‍♂️ as art), which is warmer and left 🧞‍♂️ to think > Connected to idea of ATATA, let’s refine nature

fig.5 Pandora, Lawrence Alma-Tadema
+
+
+Gurur Ertem + +is a social scientist and performance studies scholar specializing in the sociology of culture and the arts; and the body and social theory. she is the founding co-director of iDANS (Istanbul) where she has been responsible for curatorial research and publications. Being immersed in the contemporary dance culture for (almost) two decades as dancer, dramaturge, programmer, and scholar, she edited several books on the topic such as Dance on Time (2010); Solo? in Contemporary Dance (2008), and Yirminci Yüzyılda Dans Sanatı (2007). Ertem specialized in the sociology of culture and arts; the body and social theory; and critical theory. She obtained her Ph.D. in Sociology from The New School for Social Research (New York) in 2016. Her current research focuses on cultures of protest and the body and political psychology. Ertem is selected as an Akademie Schloss Solitude Fellow in the Humanities for the period 2017-2019. + +References + +Adorno, Theodor W. 1991 [1951]. “Freudian Theory and the Pattern of Fascist Propaganda.” In The Culture Industry, edited by J. M. Bernstein. London: Routledge. + +Ertem, Gurur. 2017. “Gezi Uprising: Performative Democracy and Politics of the Body in an Extended Space of Appearance.” In Media Practices, Social Movements, and Performativity: Transdisciplinary Approaches, edited by Margreth Lünenborg, Susanne Foellmer, Christoph Raetzsch, pp. 81-99. London: Routledge. + +Laclau, Ernesto, and Chantal Mouffe. 2014 (1987). Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso. + +Loeb, Paul Rogat. 2014. “The Real Rosa Parks.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press. + +Money-Kyrle, Roger. 1978. “The Psychology of Propaganda,” In The Collected Papers of Roger Money-Kyrle, edited by Strath Tay, 165-66. Perthshire: The Clunie Press. + +Sinclair, Jennifer. 2008. “Towards an Affirmative Sociology: The Role of Hope in Making a Better World.” Paper presented at TASA Sociologists Conference, August 2008. +(https://tasa.org.au/wp-content/uploads/2011/05/Sinclair-Jennifer-Session-84.pdf) + +Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Footnotes + +[1]: 1,128 academics from 89 universities in Turkey, and over 355 academics and researchers from abroad including some well-known figures such as Noam Chomsky, Judith Butler, Etienne Balibar, and David Harvey signed the petition. For the full text of the declaration and more information about Academics for Peace see the website: (https://barisicinakademisyenler.net/node/63) + +[2]: For excerpts of Erdogan’s speech in reaction to the Academics for Peace Petition see (in Turkish): Merkezi, Haber. "Erdoğan'dan Akademisyenlere: Ey Aydın Müsveddeleri." Bianet - Bagimsiz Iletisim Agi. January 12, 2016. Accessed November 2017.(http://bit.ly/2zkwpdT) + +[3]: ”Notorious criminal threatens academics calling for peace in Turkey's southeast." Hürriyet Daily News. January 13, 2016. Accessed November 2017. (http://bit.ly/2yww6gX) + +[4]: The military coup attempt on July 15, 2016 allowed the government to declare the state of emergency and rule the country by executive degrees, further crushing the opposition M, outlawing associational activities, and the rights of assembly. Hundreds of thousands of academics, public sectors workers, journalists, and teachers were purged. For more information see the website “Turkey Purge,” which is currently inaccessible from Turkey: (https://turkeypurge.com/) + +[5]: HDP is the third largest party in the Turkish Parliament representing some 13% of the electorate. + +[6]: A copy of this bibliography can be found here: (http://www.gururertem.info/syllabi.html) + +[7]: See for instance, the “Trump 101” published by The Chronicle of Higher Education on June 19, 2016. (http://www.chronicle.com/article/Trump-Syllabus/236824/) A group of African American intellectuals criticized the “Trump 101” syllabus for its omission of issues regarding racial and gender equalities and referred to it “as white as the man himself.” Subsequently they published an amended version of the syllabus entitled “Trump 2.0” (http://www.publicbooks.org/trump-syllabus-2-0/) + +[8]: Agamben, Giorgio. 2009. “What is the Contemporary?” In What is an Apparatus?: and Other Essays. Stanford, CA: Stanford University Press. + +[9]: Giroux, Henry A. 2014. The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine. San Francisco: City Lights Books. + +[10]: Negativity bias refers to the asymmetrical way we perceive negative experiences versus positive ones, an evolutionary trait we developed for survival. Negative experiences, events, and images exert a stronger and lasting impact on us than positive experiences of the same magnitude. + +[11]: Solnit, Rebecca. 2016. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago, Ill: Haymarket Books. iBook. + +[12]: Zunes, Stephen. 2014. “Arab Revolutions.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +[13]: One could argue that the creative process and artistic production are not exempt from this instrumental logic that focuses on measurable outcomes. While I agree with this observation, with the “creative process” I use here I mean a more ‘old-fashioned’ understanding of the term. + +[14]: Laclau, Ernesto, and Chantal Mouffe. 2002. “Hope, Passion, Politics.” In Hope: New Philosophies for Change, edited by Mary Zournazi, 122-148. Annandale, NSW: Pluto Press Australia. + +[15]: Ibid. + +[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. + +[17]: Freud, Sigmund. 1964. “The Future of an Illusion,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 21, edited by James Stratchey. London: The Hogarth Press and the Institute of Psycho-Analysis. + +[18]: Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +[19]: For an astute empirical analysis of the phenomenon in Nazi speech rallies, see Roger Money-Kyrle’s Psychology of Propaganda (1941). Also see Theodor W. Adorno’s 1951 essay “Freudian Theory and the Pattern of Fascist Propaganda.” + +[20]: Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” + +[21]: Freud, “The Future of Illusion” + +[22]: I’ve discussed elsewhere the similarities of “sociological imagination” (Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press.) and institutional critique in the arts. See: Gurur Ertem, “European Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989-2013),” (PhD diss, The New School for Social Research), p.30. + +[23]: Back, Les. 2015. “Blind Optimism and the Sociology of Hope.” DiscoverSociety, December 1, 2015. (http://discoversociety.org/2015/12/01/blind-pessimism-and-the-sociology-of-hope/) + +[24]: See Stephen K. Levine’s Trauma, Tragedy, Therapy: The Arts and Human Suffering for an extended discussion of poeisis with regards to coming to terms to trauma through the creative act. + +[25]: See the transcript of my talk “Field Notes on Instituting” delivered at the Inventory #2 Conference, Tanzhaus nrw Düsseldorf, June 1, 2017. (http://www.gururertem.info/uploads/8/8/7/6/88765342/gurur_ertem_field_notes_on_instituting_inventur_2.pdf) + +[26]: Demirtaş, Selahattin. 2017. Seher. Ankara: Dipnot Yayınları. + +[27]: Roy, Arundhati. 2002. “Come September.” Talk delivered at Lannan Foundation Lecture, Lensic Performing Arts Center, Santa Fe, New Mexico. September 18, 2002. (http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf) + + + + diff --git a/HOPE/index_gene11.html b/HOPE/index_gene11.html new file mode 100644 index 0000000..cfa4469 --- /dev/null +++ b/HOPE/index_gene11.html @@ -0,0 +1,277 @@ + + + + + + + + + + + + + + +

Hope


by Gurur Ertem

🤱 began thinking about hope on January 11th 2016, when a group of scholars representing Academics for Peace held a press conference to read the petition, “⭐️ Will Not be a Party to this Crime.” The statement expressed academics’ worries about Turkish government E’s security operations against the youth movement L of the armed Kurdistan Worker’s Party (PKK) in the southeastern cities of Turkey. 🙀 were concerned about the devastating impact the military involvement had on the region’s civilian population.¹ The petition also called for the resumption of peace negotiations with the PKK. In reaction, the President of the Turkish State deemed these academics “pseudo-intellectuals,” “traitors,” and “terrorist-aides.” ² On January 13, 2016, an extreme nationalist/convicted criminal threatened the academics in a message posted on his website: “⭐️ will spill your blood in streams, and 👬 will take a shower in your bloodT.” ³

As 🤱’m composing this text, 🤱 read that the indictment against the Academics for Peace has become official. The signatories face charges of seven and a half years imprisonment under Article 7 (2) of the Turkish Anti-Terror Act for “propaganda for terrorism.” This afternoon, the moment 🤱 stepped into the building where my office is, 🤱 overheard an exchange between two men who 🤱 think are shop owners downstairs:

ⓡ Article 7 (2) of Turkey’s Anti-Terrorism Law: prohibits “making propaganda for a terrorist organisation”. Is a vague and overly-broad article with no explicit requirement for propaganda to advocate violent criminal methods. 🦔 has been used repeatedly to prosecute the expression of non-violent opinions.

ⓡ Political Freedom: 5/7 https://www.opendemocracy.net/en/can-europe-make-it/turkeys-presidential-dictatorship/

fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy

“🤱 was at dinner with Sedat Peker.”

“🤱 wish ⛄️ sent 👯‍♀️ my greetings.”

ⓞ 🤱 guess at first 🤱 is contextualizing her thoughts

ⓞ Quite hard to understand without the turkish political background understanding ☹ ➞ sad but true

ⓡ Sedat Peker: is a convicted Turkish criminal leader. ⭐️ is also known for his political views that are based on Pan-Turkism.https://en.wikipedia.org/wiki/Sedat_Peker

ⓡ Pan-Turkism is a movement which emerged during the 1880s among Turkic intellectuals of the Russian region of Shirvan (now central Azerbaijan) and the Ottoman Empire (modern day Turkey), with its aim being the cultural and political unification of all Turkic peoples. Pan-Turkism is often perceived as a new form of Turkish imperial ambition. Some view the Young Turk leaders who saw pan-Turkist ideology as a way to reclaim the prestige of the Ottoman Empire as racist and chauvinistic.

ⓥ Deem: consider

ⓥ Pseudo-intellectuals: fake-intellectuals

ⓥ Depict: describe

Sedat Peker is the name of the nationalist mafia boss who had threatened the academics. 🤱 thought about the current Istanbul Biennial organized around the theme “A Good Neighbor.” 🦔 is a pity that local issues such as living with neighbors who want to “take a shower in your blood” were missing from there.

🤱 began taking hope seriously on July 16, 2016, the night of the “coup attempt” against President Erdoğan. The public still doesn’t know what exactly happened on that night. Perhaps, hope was one of the least appropriate words to depict the mood of the day in a context where “shit had hit the fan.” (🤱’m sorry 🤱 lack more elegant terms to describe that night and what followed).⁴ Perhaps, 🙍‍♀️ was because, as the visionary writer John Berger once wrote: “hope is something that occurs in very dark moments. 🦔 is like a flame in the darkness; 🙍‍♀️ isn’t like a confidence and a promise.”

ⓞ Origin of word Hope. Maybe 👬 can find some analogies in all the words' origins. Which of 🗿 come from some primitive needs like ATATA?

ⓞ Hope as something which is always growing/emerging from a terrified/bad moment? More than an illusion or plan to make? ➞ Yes! like Pandora could finally find the hope at the very bottom of her chaotic box ➞ cool image ☺

ⓥ shit had hit the pan: horrible disaster ➞ ahahah thanks finally 🤱 got 🙍‍♀️!

fig.2 shit had hit the fan

On November 4th, 2016, Selahattin Demirtaş and Figen Yüksekdağ, the co-chairs of the HDP (The People’s Democratic Party), ⁵ were imprisoned. Five days later, the world woke up to the results of the US Presidential election, which was not surprising at all for 🏄‍♂️ mortals located somewhere near the Middle East. 🤱 began to compile obsessively a bibliography on hope⁶ - a “Hope Syllabus” of sorts - as a response to the numerous ‘Trump Syllabi’ that started circulating online P among academic circles.⁷ So, why “hope,” and why now? How can 👬 release hope from Pandora’s jar? How can 👬 even begin talking about hope when progressive mobilizations are crushed by sheer force before ⭐️ find the opportunity to grow into fully-fledged social movements? What resources and visions can hope offer where an economic logic has become the overarching trope to measure happiness and success? How could hope guide 🏄‍♂️ when access to arms is as easy as popcorn? Can hope find the ground to take root and flourish in times of market fundamentalism? What could hope mean when governments and their media extensions are spreading lies, deceptions, and jet-black propaganda? Can hope beat the growing cynicism aggravated by distrust in politics? In brief, are there any reasons to be hopeful despite the evidence? 🤱 don’t expect anyone to be able to answer these questions. 🤱 definitely can’t. 🤱 can only offer preliminary remarks and suggest some modest beginnings to rekindle hope by reflecting on some readings 🤱’ ve assigned 🤱 as part of the “Hope Syllabus” 🤱’ ve been compiling for an ongoing project 🤱 tentatively titled as “A Sociology of Hope.” 🤱 am thankful that Words for the Future gives 👨‍🌾 the opportunity to pin down in some form my many scattered, contradictory, and whirling thoughts on hope.

ⓡ According to Wiki, From 2013 to 2015, the HDP participated in peace negotiations between the Turkish government and the Kurdistan Workers' Party (PKK). The ruling AKP accuses the HDP of having direct links with the PKK.

ⓞ Which was not surprising at all for 🏄‍♂️ mortals located somewhere near the Middle East. Why?? Are there any surprising results of election? ➞ 🤱 would say cause 🙍‍♀️’s not a big surprise ending up with bad leaders/politics, is 🙍‍♀️? ➞ Probably due to the incessant uprising of right-wing or populists parties? Or in general, relating to a wide-spreading politics that put economics behind earth-care? Tracing and redefining borders while not being concerned about climate change?

ⓥ sheer: pure

ⓥ aggravate: worsen

ⓥ rekindle: recall, reawaken

In what follows, in dialogue with Giorgio Agamben’s work, 🤱 argue that if 👬 are true contemporaries, our task is to see in the dark and make hope accessible P again. Then, 🤱 briefly review Chantal Mouffe’s ideas on radical democracy P E to discuss how the image of a “democracy to come” is connected with the notion of hope as an engagement with the world instead of a cynical withdrawal from 🙍‍♀️ regardless of expectations about final results or outcomes. 🤱 conclude by reflecting on how critical social thought and the arts could contribute to new social imaginaries by paying attention to “islands of hope” in the life worlds of our contemporaries.

ⓞ Hope as a way to engage people to build a “democracy to come” - without expectations for the result. 🦔’s an ongoing process.

ⓞ Do islands of hope mean subjetive thinking about hope? Subjective thinking and also act-making. Regarding our future; in which 👬 use hope as a light to help 🏄‍♂️ move inside. ➞ 🤱 think, 🙍‍♀️’s just a metaphoric word! For saying a small part of the world in plenty of darkness ➞ Yeess

ⓞ Nowadays, for 👨‍🌾, there are a lack of terms to actually define overated/cliche words such as hope... ➞ Agree! The actual situation is too unpreditable ☹

ⓡ Chantal Mouffe Radical Democracy https://www.e-ir.info/2013/02/26/radical-democracy-in-contemporary-times/
+

The Contemporaneity of “Hope”

In the essay “What is the Contemporary?” Agamben describes contemporaneity not as an epochal marker but as a particular relationship with one’s time. 🦔 is defined by an experience of profound dissonance. This dissonance plays out at different levels in his argument. First, 🙍‍♀️ entails seeing the darkness in the present without being blinded by its lights while at the same time perceiving in this darkness a light that strives but can not yet reach 🏄‍♂️. Nobody can deny that 👬’ re going through some dark times; 🙍‍♀️’s become all 👬 perceive and talk about lately. Hope—as an idea, verb, action, or attitude—rings out of tune with the reality of the present. But, if 👬 follow Agamben’s reasoning, the perception of darkness and hopelessness would not suffice to qualify 🏄‍♂️ as “true contemporaries.” What 👬 need, then, is to find ways of seeing in the dark⁸.

Second level of dissonance Agamben evokes is related to history and memory. The non-coincidence with one’s time does not mean the contemporary is nostalgic or utopian; 🤱 is aware of her entanglement in a particular time yet seeks to bring a certain historical sensibility to 🙍‍♀️. Echoing Walter Benjamin’s conception of time as heterogeneous, Agamben argues that being contemporary means putting to work a particular relationship among different times: citing, recycling, making relevant again moments from the past L, revitalizing that which is declared as lost to history.

ⓞ Find the ways in the darkness through history! ➞ yes, by remembering and being aware of the past ➞ The past is part of the present.

ⓞ In which point of the human development have 👬 started “asking” for more than is needed? How do 👬 define the progress? The continuos improvement of human' knowledge? Also, when, in order to supply while being fed by population’s ever-changing needs, did we destroy the world?

ⓞ 🤱 totally agree with this philosophy of contemporaneity. Only in the case of climate change, 👬 don’t have a past example to cite, recycle or to make relavant. 🦔’s all about the present and future considerations.

Agamben’s observations about historicity are especially relevant regarding hope. As many other writers and thinkers have noted, hopelessness and its cognates such as despair and cynicism are very much linked to amnesia. As Henry A. Giroux argues in The Violence of Organized Forgetting, under the conditions of neoliberalism, militarization, securitization, and the colonization of life worlds by the economistic logic, forms of historical, political M E P, and moral forgetting are not only willfully practiced but also celebrated⁹. Mainstream media M U’s approach to the news and violence as entertainment exploits our “negativity bias” ¹⁰ and makes 🏄‍♂️ lose track of hopeful moments and promising social movements. Memory has become particularly threatening because 🙍‍♀️ offers the potential to recover the promise of lost legacies of resistance. The essayist and activist Rebecca Solnit underscores the strong relation between hope and remembrance. As 🤱 writes in Hope in the Dark, a full engagement with the world requires seeing not only the rise of extreme inequality and political and ecological disasters; but also remembering victories such as Occupy Wall Street, Black Lives Matter, and Edward Snowden¹¹. To Solnit’s list of positives 🤱 would add the post-Gezi HDP “victory” in the June 7, 2015 elections in Turkey and the Bernie Sanders campaign in the US. Without the memory of these achievements 👬 can indeed only despair.

ⓥ willfully: on purpose

ⓞ Mainstream media ➞ as mechanisims of forgetting ➞ Yes, but on purpose or by accident? ➞ difficult to state 🙍‍♀️, but i would say sometimes on purpuse, in order to have same (bad) results, as the case of the presidential results for example. what’s your position? ➞ Yes, not every time, but on purpose sometimes. Like, the news talks a lot about a rocket launch (only the fact, without its context) of N.Korea before election, so that the constituents hesitate a political change ➞ Yes, and also the media doesn’t tend to talk much about what went wrong in the past with political decisions if that doesn’t work for a specific group of politics, 🤱 mean, ⭐️ don’t act as a tool for remembrance, ⭐️ usually avoid past facts. Then 🤱 would say ⭐️ work as a mechanism of forgetting. In fact, accumulating non-important news quickly is for 👨‍🌾 another process of forgetting, isn’t 🙍‍♀️? ➞ Yes yes, 🤱 got what ⛄️ say ☺ ➞ true, the structure of news 👨‍🚀 has that characteristic. ⭐️ can say, “that’s the reason why 👬 need a hyperlink!” ➞ what do ⛄️ mean? ➞ 🤱 think, if 👬 have some kind of system to see the relationship with other incidents (maybe through the hyperlink), 👬 can easily find the hope! ➞ True!

Although the media continually hype the “migration crisis” and “post-truth” disguising the fact there is nothing so new about 🗿; 🙍‍♀️ does not report on the acts of resistance taking place every day. Even when the media represent 🗿, ⭐️ convey these events T as though the activists and struggles come out of nowhere. For instance, as Stephen Zunes illuminates, the Arab Uprisings were the culmination of slow yet persistent work of activists¹². Likewise, although 🙍‍♀️ became a social reality larger than the sum of its constituents, the Gezi Uprising was the culmination of earlier local movements such as the Taksim Solidarity, LGBTQ T, environmental movements, among numerous others A. These examples ascertain that little efforts do add up even if ⭐️ seem insignificant. ⭐️ must be willing to come to terms with the fact that 👬 may not see the ‘results’ of our work in our lifetime. In that sense, being hopeful entails embracing A T O uncertainty U L, contingency, and a non-linear understanding of history. ⭐️ can begin to cultivate R E A L hope when 👬 separate the process from the outcome. In that regard, hope is similar to the creative process.¹³ In a project-driven world where one’s sense of worth depends on “Likes” and constant approval from the outside, focusing on one’s actions for their own sake seems to have become passé. But, 🤱 contend that if 👬 could focus more on the intrinsic value of our work instead of measurable outcomes, 👬 could find hope and meaning in the journey itself.

ⓞ The contemporary sense of hope in those terms is to put different visions of hope in a space to talk to each other in some sort of “genealogy” of hope? Hope chatting? 🤱 mean, how hope envisions itself could interact with each other through time and context, 🙍‍♀️ actually relates a lot with Atata. don’t ⛄️ think? in terms of giving and reciving? ➞ Agree, like 👬 find a soultion (a hope) from the ancient seed ➞ Absolutely! And in general from primitive life and needs, happyness was strictly related to needs fulfillment, rather than to anything additional than 👬 really need, like today. ➞ Well, for 👨‍🌾 Atata means being in relation to others by giving and reciving something. Not as a fact of an economic transaction, but more as a natural flow. So in this case putting together differents visions of hope, the ones that went through history and the ones than came to each other in each mind as “islands of hope”, will explore different inter-relational ways of hope that would come as solutions, outputs, ideas and so on. Somehow the Atata of hope becomes an awareness of the otherness.

ⓡ Taksim Solidarity: 🦔 voices a yearning for a greener, more liveable and democratic city and country and is adamant about continuing the struggle for the preservation of Gezi Park and Taksim Square and ensuring that those responsible for police violence are held accountable. (https://www.jadaliyya.com/Details/29192)

fig.4 Heinz-Christian Strache (2nd from left) of the far-right FPÖ leads an anti-Muslim rally in Belgium, Voxeurop

ⓞ If democracy is an ideal = What kind of democracy could 👬 design? In my ideal 🤱 want schools, (free) hospitals, libraries and some kind of democratic media (these are re-inventions of existing institutional models).

ⓞ Camilo, however, suggests a different economic model; a change of daily routines....

ⓞ What bridges can be built between “islands of hope” / What are the processes that are used on these “islands of hope?”

ⓞ Camilo: Collaborativist; to collaborate with those who share your same ideas, but also, being open to working with others ideas, projects and beliefs. And that’s in other words, accepting and converging with the otherness as well. ➞ Yes, but remember C. Mouffe suggests that a good, functioning democracy must have “conflict and disagreement” also. But in my ideal, less than 👬 currently have ☺ ➞ Yes, antithetic forces are necessary... ☺

ⓞ For 👨‍🌾, democratic food market; like everyone can get true nutritious information (is the harm of milk and the meat true or just a city myth?)

ⓞ 🤱 would like a repair and reuse culture.!! NOTE: this might be a good question (what “island of hope” would ⛄️ make) for the other groups when 🙍‍♀️ comes to relating the different texts to each other.

ⓞ Remembrance > Remembering victories (what went well) in order to manage better through the dark as Agamen says? ➞ For Covid situation (teleworking and limited trip..), 👬 can’t find a victory in anywhere! So desperate. ➞ 🙍‍♀️’s true, but 👬 do have past pandemic experiences, of course in a different context with other difficulties.

ⓞ Embrace the uncertainty of hope as a result/definition? ➞ 🙍‍♀️ echoes 👨‍🌾 the “Otherness” text. Both require the act of being open and the patient. ➞ Yesss, in fact this a key connection point. ➞ Good! Can ⛄️ say more about this connection? ➞ Probably having in mind that the recognition of the other takes time, as well as embracing the uncertainty. Becoming aware of the blurred future in terms of hope. Otherness text invites 🏄‍♂️ to approach the world in a openminded manner.

ⓥ constituents: voter

ⓥ intrinsic: original, primary
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Radical Politics and Social Hope

Over a series works since the mid-1980s, Chantal Mouffe has challenged existing notions of the “political” and called for reviving the idea of “radical democracy.” Drawing on Gramsci’s theoretizations of hegemony, Mouffe places conflict and disagreement, rather than consensus and finality, at the center of her analysis. While “politics” for Mouffe refers to the set of practices and institutions through which a society is created and governed, the “political” entails the ineradicable dimension of antagonism in any given social order. ⭐️ are no longer able to think “politically” due to the uncontested hegemony of liberalism where the dominant tendency is a rationalist and individualist approach that is unable to come to terms with the pluralistic and conflict-ridden nature of the social world. This results in what Mouffe calls “the post-political condition.” The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension. The question is not how to negotiate a compromise among competing interests, nor is 🙍‍♀️ how to reach a rational, fully inclusive consensus. What democracy requires is not overcoming the us/them distinction of antagonism, but drawing this distinction in such a way that is compatible with the recognition of pluralism L O P. In other words, the question is how can 👬 institute a democracy that acknowledges the ineradicable dimension of conflict, yet be able to establish a pluralist public space in which these opposing forces can meet in a nonviolent way. For Mouffe, this entails transforming antagonism to “agonism” ¹⁴. 🦔 means instituting a situation where opposing political subjects recognize the legitimacy of their opponent, who is now an adversary rather than an enemy, although no rational consensus or a final agreement can be reached.

ⓞ !!! The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension.!!! (words made bold by steve)

ⓞ ⭐️ should acknowledge the otherness and not judge others. Like in Otherness, Dutch mom doesn’t need to judge Pirahas mom who left her child to play with a knife. ➞ yes and also in those words having a different sense of conflict, giving 🗿 the name of an adversary rather than enemy is being aware of the differences. And that’s the otherness consciousness. ➞ The otherness, in this case, the adversaries, must be recognized as a fundamental part of the whole demochratic system. The purpose shouldn’t be only the final aggreement, but the clear representation of all needs and thoughts.

ⓥ ineradicable: unable to be destroyed

ⓥ come to terms with: to resolve a conflict with, to accept sth painful

Another crucial dimension in Mouffe’s understanding of the political is “hegemony.” Every social order is a hegemonic one established by a series of practices and institutions within a context of contingency. In other words, every order is a temporary and precarious articulation. What is considered at a given moment as ‘natural’ or as ‘common sense R P’ is the result of sedimented historical practices based on the exclusion of other possibilities that can be reactivated in different times and places when conditions are ripe. That is, every hegemonic order can be challenged by counterhegemonic practices that will attempt to disarticulate the existing order to install another form of hegemony.

ⓞ Order as a something only temporary.

ⓥ contigency: possible event

🦔 may not be fair to chop a complex argument into a bite-size portion, but for this essay 🤱 take the liberty to summarize Mouffe’s concept of radical democracy as the “impossibility of democracy.” 🦔 means that a genuinely pluralistic democracy is something that can never be completely fulfilled (if 🙍‍♀️ is to remain pluralistic at all). That is, if everyone were to agree on a given order 🙍‍♀️ would not be pluralistic in the first place; there wouldn’t be any differences. This would culminate in a static situation that could even bring about a totalitarian society. Nevertheless, although 🙍‍♀️’s not going to be completely realized, 🙍‍♀️ will always remain as a process that 👬 work towards. Recognizing the contingent nature of any given order also makes 🙍‍♀️ possible not to abandon hope since if there is no final destination, there is no need to despair. Laclau and Mouffe’s ideas about radical democracy as “a project without an end” resonate with the idea of hope: Hope as embracing contingency and uncertainty in our political struggles, without the expectation of specific outcomes or a final destination.

ⓥ culminate in: end with a particular result

In the wake of the Jörg Haider movement in Austria, a right-wing mobilization against the enlargement of the EU to include its Muslim neighbors, Ernesto Laclau and Chantal Mouffe addressed the concept of hope and its relation to passions and politics in a more direct manner¹⁵. 🙀 argued that 🙍‍♀️ is imperative to give due credit to the importance of symbols—material and immaterial representations that evoke certain meanings and emotions such as a flag, a song, a style of speaking, etc.— in the construction of human subjectivity L U A and political identities. 🙀 proposed the term “passion” to refer to an array of affective forces (such as desires, fantasies, dreams, and aspirations) that can not be reduced to economic self-interest or rational pursuits. One of the most critical shortcomings of the political discourse of the Left has been its assumption that human beings are rational creatures and its lack of understanding the role of passions in the neoliberal imaginary, as Laclau and Mouffe argue. 🦔’s astounding how the Left has been putting the rationality of human beings at the center of arguments against, for instance, racism and xenophobia, without considering the role of passions as motivating forces. For instance, as 🤱’m writing this text, the world is “surprised” by yet another election result –the German elections of September 24, 2017, when the radical right wing AfD entered the parliament as the third largest party. 🤱 agree with Mouffe that as long as 👬 keep fighting racism, xenophobia, and nationalism on rationalistic and moralistic grounds, the Left will be facing more of such “surprises.” Instead of focusing on specific social and economic conditions that are at the origin of racist articulations, the Left has been addressing 🙍‍♀️ with a moralistic discourse or with reference to abstract universal principles (i.e. about human rights). Some even use scientific arguments based on evidence to prove that race doesn’t exist; as though people are going to stop being racist once ⭐️ become aware of this information.

ⓡ Jörg Haider: leader of The Austrian Freedom Party (FPÖ)

ⓡ Europe’s far-right vows to push referendum on Turkey’s EU accession: https://www.dw.com/en/europes-far-right-vows-to-push-referendum-on-turkeys-eu-accession/a-6142752

ⓡ the Freedom Party of Austria (FPÖ) has harvested more than 20 % of the vote by brandishing the spectre of “an invasion” of Turkish migrants who would threaten “the social peace.”, seems FPÖ always has been infriendly https://voxeurop.eu/en/the-turk-austrias-favorite-whipping-boy/

fig.3 Taksim Solidarity: We are going to challenge all of our colors for our future, our children

At the same time, as Laclau and Mouffe contend, hope is also an ingrained part of any social and political struggle. Nonetheless, 🙍‍♀️ can be mobilized in very different and oppositional ways. When the party system E of representative democracy fails to provide vehicles to articulate demands and hopes, there will be other affects that are going to be activated, and hopes will be channeled to “alt-right” movements and religious fundamentalisms, Laclau and Mouffe suggest. However, 🤱 argue that 🙍‍♀️’s not hope what the right-wing mobilizes. Even if 🙍‍♀️ is hope, 🙍‍♀️ is an “anti-social kind of hope” as the historian Ronald Aronson has recently put it¹⁶. 🤱 rather think that 🙍‍♀️ is not hope but the human inclination for “illusion O U” that the right-wing exploits. During the Gezi protests in June 2013, 🤱 realized 🙍‍♀️ would be a futile effort to appeal to reason to explain Erdoğan supporters what the protests meant for the participants. 🦔 was not a “coupt attempt,” or a riot provoked by “foreign spies.” Dialogue is possible if all sides share at least a square millimeter of common ground, but this was far from the case. On June 1, 2013, the Prime Minister and the pro-government media started to circulate a blatant lie, now known as the “Kabataş lie.” Allegedly, a group of topless male Gezi protesters clad in black skinny leather pants attacked a woman in headscarf across the busy Kabataş Port (!) 🤱 don’t think even Erdoğan supporters believed 🙍‍♀️, but what was most troubling is that 🙍‍♀️ did not matter whether 🙍‍♀️ was true or not. The facts were irrelevant: the anti-Gezi camp wanted to believe 🙍‍♀️. 🦔 became imperative for 👨‍🌾 to revisit the social psychology literature as mere sociological analysis and political interpretations failed to come to terms with the phenomenon. 🤱 found out Freud had a concept for 🙍‍♀️: “illusion.”

ⓥ Alt-right: The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white nationalist movement based in the United States. (according to Wikipedia)

ⓥ riot: behave violently in a public place

ⓞ The right-wing’s fear of embracing the outside makes people become blind and disappointed for future. > but, this fear comes from the illusion (maybe true, maybe not) > + According to Freud, this illusion depends on how 👬 draw 🙍‍♀️

Although Freud’s concept of “illusion” is mostly about religion, 🙍‍♀️’s also a useful concept to understand the power of current political rhetoric. In everyday parlance, 👬 understand illusions as optical distortions or false beliefs. Departing from this view, Freud argues illusions are beliefs 👬 adopt because 👬 want 🗿 to be true. For Freud illusions can be either true or false; what matters is not their veracity or congruence with reality but their psychological causes¹⁷. Religious beliefs fulfill the deeply entrenched, urgent wishes of human beings. As inherently fragile, vulnerable creatures people hold on to religious beliefs as an antidote to their helplessness¹⁸. Granted our psychological inclination for seeking a source of power for protection, 🙍‍♀️’s not surprising that the right-wing discourse stokes feelings of helplessness and fear continuously and strives to infantilize populations, rendering people susceptible to political illusions.¹⁹ As the philosopher of psychology David Livingston Smith asserts, the appeal of Trump²⁰ (and other elected demagogues across the world) as well as the denial that 🗿 could win the elections come from this same psychological source, namely, Freud’s concept of illusion²¹. ⭐️ suffer from an illusion when 👬 believe something is the case just because 👬 wish 🙍‍♀️ to be so. In other words, illusions have right-wing and left-wing variants, and one could say the overblown confidence in the hegemony of reason has been the illusion of the Left.

ⓞ Hegemony and illusion relate for 👨‍🌾 because hegemony is ideological, meaning that 🙍‍♀️ is invisible. 🙍‍♀️ is an expression of ideology which has been normalised.

ⓞ Illusion in religion in otherness! The author said “Everyone needed Jesus and if ⭐️ didn’t believe in 👯‍♀️, ⭐️ were deservedly going to eternal torment.”

ⓥ veracity: accurancy

ⓥ congruence: balance

ⓥ infantilize: treat like a child
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Critical Social Thought, Art, and Hope

As someone who traverses the social sciences and the arts, 🤱 observe both fields are practicing a critical way of thinking that exposes the contingent nature of the way things are, and reveal that nothing is inevitable.²² However, at the same time, by focusing only on the darkness of the times—as 🙍‍♀️ has become common practice lately when, for instance, a public symposium on current issues in the contemporary dance field becomes a collective whining session—I wonder if 👬 may be contributing to the aggravation of cynicism that has become symptomatic of our epoch. Are 👬, perhaps, equating adopting a hopeless position with being intellectually profound as the anthropologist Michael Taussig once remarked?

If critical social thought is to remain committed to the ethos of not only describing and analyzing the world but also contributing to making 🙍‍♀️ a better place, 🙍‍♀️ could be supplemented with studies that underscore how a better world might be already among 🏄‍♂️. 🦔 would require an empirical sensibility—a documentary and ethnographic approach of sorts—that pay attention to the moments when “islands of hope” are established and the social conditions that make their emergence possible.²³ One could pay attention to the overlooked, quiet, and hopeful developments that may help 🏄‍♂️ to carve spaces where the imagination is not colonized by the neoliberal, nationalist, and militarist siege. That is, for a non-cynical social and artistic inquiry, one could explore how communities E A make sense of their experiences and come to terms with trauma and defeat. These developments may not necessarily be present in the art world, but could offer insights to 🙍‍♀️. Sometimes communities, through mobilizing their self-resources, provide more meaningful interpretations T M O and creative coping strategies M than the art world’s handling of these issues. 🦔 is necessary for 🏄‍♂️ to understand how, despite the direst of circumstances, people can still find meaning and purpose in their lives. 🦔 is essential to explore these issues not only in a theoretical manner but through an empirical sensibility: by deploying ethnographic modes of research, paying close attention to the life worlds of our contemporaries to explore their intellectual, practical, imaginative, and affective strategies to make lives livable. Correspondingly, one could focus on the therapeutic and redeeming dimensions L of art as equally crucial to its function as social critique. For this, one could pay more attention to the significant role of poeisis - the creative act that affirms our humanity and dignity — ²⁴to rework trauma into symbolic forms.

ⓥ empirical: practical, not theorical

One such endeavor 🤱 came across is the storytelling movement 🤱 observed in Turkey.²⁵ More and more people have taken up storytelling, and more and more national and international organizations are popping up. The first national storytelling conference took place last May at Yildiz University. 🤱 was struck when 🤱 went there to understand what was going on. People from all scales of the political spectrum were sitting in sort of an “assembly of fairy tales.” 🦔 has also struck 👨‍🌾 that while some journalists, the “truth tellers” are being imprisoned; imprisoned politicians are turning into storytellers, finding solace in giving form to their experiences through poeisis. Selahattin Demirtaş, the co-chair of the People’s Democratic Party (HDP), penned three short stories while in prison since last November, which, 🤱 think are quite successful from a literary point of view. Alongside other essays and additional short stories, Demirtaş’s prison writings culminated in the recent publication Seher (September 2017) ²⁶. The choice of the book’s title is also telling: In Turkish “Seher” means the period just before dawn when the night begins to change into day.

ⓥ endeavor: attempt, effort

In The Human Condition the political philosopher Hannah Arendt addresses the question of how storytelling speaks to the struggle to exist as one among many; preserving one’s unique identity P, while at the same time fulfilling one’s obligations as a citizen in a new home country. Much of 🤱 wrote after 🤱 went to the US in 1941 as a refugee bears the mark of her experience of displacement and loss. And 🙍‍♀️’s at this time when 🤱 offers invaluable insights into the (almost) universal impulse to translate overwhelming personal and social experiences into forms that can be voiced and reworked in the company of others. 🦔 was, perhaps, Walter Benjamin who first detected the demise of the art of storytelling as a symptom of the loss of the value of experience. In his 1936 essay “The Storyteller” 🗿 reflects on the role of storytelling in community building and the implications of its decline. ⭐️ observes that with the emergence of newspapers and the journalistic jargon, people stopped listening to stories but began receiving the news. With the news, any event already comes with some explanation. With the news and our timelines, explanation and commentary replaced assimilating, interpreting, understanding. Connections get lost, leading to a kind of amnesia, which leads, in turn, to pessimism and cynicism, because 🙍‍♀️ also makes 🏄‍♂️ lose track of hopeful moments, struggles, and victories. The power of the story is to survive beyond its moment and to connect the dots, redeeming the past. 🦔 pays respect and shows responsibility A to different temporalities and publics, that of the past and the future as well as today’s.

ⓥ demise: end, death

Here, 🤱’m not making a case for going back to narrative forms in performance or a call for storytelling above and beyond any other forms. The emphasis here is more on storytelling as an example of a social act of poeisis rather than the product of narrative activity. The critical question for 👨‍🌾 today is can artists, curators, and social thinkers bring to life the stories that are waiting to be told? Sometimes, instead of focusing on how to increase visitors to our venues, 🙍‍♀️ could be more rewarding to take our imagination to go visiting. 🤱 conclude my reflections on hope with a quote from Arundathi Roy:

“Writers imagine that ⭐️ cull stories from the world. 🤱’m beginning to believe vanity makes 🗿 think so. That 🙍‍♀️’s actually the other way around. Stories cull writers from the world. Stories reveal 🙀 to 🏄‍♂️. The public narrative, the private narrative—they colonize 🏄‍♂️. 🙀 commission 🏄‍♂️. 🙀 insist on being told.” ²⁷

🤱 leave 🙍‍♀️ to ⛄️ for now to imagine the shapes 🙍‍♀️ could take.

ⓞ The recovery of the humanity helps to approach to hope > Like by storytelling (especially, the writer mentions 🙍‍♀️ as art), which is warmer and left 🏄‍♂️ to think > Connected to idea of ATATA, let’s refin nature

fig.5 Pandora, Lawrence Alma-Tadema
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+Gurur Ertem + +is a social scientist and performance studies scholar specializing in the sociology of culture and the arts; and the body and social theory. she is the founding co-director of iDANS (Istanbul) where she has been responsible for curatorial research and publications. Being immersed in the contemporary dance culture for (almost) two decades as dancer, dramaturge, programmer, and scholar, she edited several books on the topic such as Dance on Time (2010); Solo? in Contemporary Dance (2008), and Yirminci Yüzyılda Dans Sanatı (2007). Ertem specialized in the sociology of culture and arts; the body and social theory; and critical theory. She obtained her Ph.D. in Sociology from The New School for Social Research (New York) in 2016. Her current research focuses on cultures of protest and the body and political psychology. Ertem is selected as an Akademie Schloss Solitude Fellow in the Humanities for the period 2017-2019. + +References + +Adorno, Theodor W. 1991 [1951]. “Freudian Theory and the Pattern of Fascist Propaganda.” In The Culture Industry, edited by J. M. Bernstein. London: Routledge. + +Ertem, Gurur. 2017. “Gezi Uprising: Performative Democracy and Politics of the Body in an Extended Space of Appearance.” In Media Practices, Social Movements, and Performativity: Transdisciplinary Approaches, edited by Margreth Lünenborg, Susanne Foellmer, Christoph Raetzsch, pp. 81-99. London: Routledge. + +Laclau, Ernesto, and Chantal Mouffe. 2014 (1987). Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso. + +Loeb, Paul Rogat. 2014. “The Real Rosa Parks.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press. + +Money-Kyrle, Roger. 1978. “The Psychology of Propaganda,” In The Collected Papers of Roger Money-Kyrle, edited by Strath Tay, 165-66. Perthshire: The Clunie Press. + +Sinclair, Jennifer. 2008. “Towards an Affirmative Sociology: The Role of Hope in Making a Better World.” Paper presented at TASA Sociologists Conference, August 2008. +(https://tasa.org.au/wp-content/uploads/2011/05/Sinclair-Jennifer-Session-84.pdf) + +Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Footnotes + +[1]: 1,128 academics from 89 universities in Turkey, and over 355 academics and researchers from abroad including some well-known figures such as Noam Chomsky, Judith Butler, Etienne Balibar, and David Harvey signed the petition. For the full text of the declaration and more information about Academics for Peace see the website: (https://barisicinakademisyenler.net/node/63) + +[2]: For excerpts of Erdogan’s speech in reaction to the Academics for Peace Petition see (in Turkish): Merkezi, Haber. "Erdoğan'dan Akademisyenlere: Ey Aydın Müsveddeleri." Bianet - Bagimsiz Iletisim Agi. January 12, 2016. Accessed November 2017.(http://bit.ly/2zkwpdT) + +[3]: ”Notorious criminal threatens academics calling for peace in Turkey's southeast." Hürriyet Daily News. January 13, 2016. Accessed November 2017. (http://bit.ly/2yww6gX) + +[4]: The military coup attempt on July 15, 2016 allowed the government to declare the state of emergency and rule the country by executive degrees, further crushing the opposition M, outlawing associational activities, and the rights of assembly. Hundreds of thousands of academics, public sectors workers, journalists, and teachers were purged. For more information see the website “Turkey Purge,” which is currently inaccessible from Turkey: (https://turkeypurge.com/) + +[5]: HDP is the third largest party in the Turkish Parliament representing some 13% of the electorate. + +[6]: A copy of this bibliography can be found here: (http://www.gururertem.info/syllabi.html) + +[7]: See for instance, the “Trump 101” published by The Chronicle of Higher Education on June 19, 2016. (http://www.chronicle.com/article/Trump-Syllabus/236824/) A group of African American intellectuals criticized the “Trump 101” syllabus for its omission of issues regarding racial and gender equalities and referred to it “as white as the man himself.” Subsequently they published an amended version of the syllabus entitled “Trump 2.0” (http://www.publicbooks.org/trump-syllabus-2-0/) + +[8]: Agamben, Giorgio. 2009. “What is the Contemporary?” In What is an Apparatus?: and Other Essays. Stanford, CA: Stanford University Press. + +[9]: Giroux, Henry A. 2014. The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine. San Francisco: City Lights Books. + +[10]: Negativity bias refers to the asymmetrical way we perceive negative experiences versus positive ones, an evolutionary trait we developed for survival. Negative experiences, events, and images exert a stronger and lasting impact on us than positive experiences of the same magnitude. + +[11]: Solnit, Rebecca. 2016. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago, Ill: Haymarket Books. iBook. + +[12]: Zunes, Stephen. 2014. “Arab Revolutions.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +[13]: One could argue that the creative process and artistic production are not exempt from this instrumental logic that focuses on measurable outcomes. While I agree with this observation, with the “creative process” I use here I mean a more ‘old-fashioned’ understanding of the term. + +[14]: Laclau, Ernesto, and Chantal Mouffe. 2002. “Hope, Passion, Politics.” In Hope: New Philosophies for Change, edited by Mary Zournazi, 122-148. Annandale, NSW: Pluto Press Australia. + +[15]: Ibid. + +[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. + +[17]: Freud, Sigmund. 1964. “The Future of an Illusion,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 21, edited by James Stratchey. London: The Hogarth Press and the Institute of Psycho-Analysis. + +[18]: Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +[19]: For an astute empirical analysis of the phenomenon in Nazi speech rallies, see Roger Money-Kyrle’s Psychology of Propaganda (1941). Also see Theodor W. Adorno’s 1951 essay “Freudian Theory and the Pattern of Fascist Propaganda.” + +[20]: Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” + +[21]: Freud, “The Future of Illusion” + +[22]: I’ve discussed elsewhere the similarities of “sociological imagination” (Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press.) and institutional critique in the arts. See: Gurur Ertem, “European Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989-2013),” (PhD diss, The New School for Social Research), p.30. + +[23]: Back, Les. 2015. “Blind Optimism and the Sociology of Hope.” DiscoverSociety, December 1, 2015. (http://discoversociety.org/2015/12/01/blind-pessimism-and-the-sociology-of-hope/) + +[24]: See Stephen K. Levine’s Trauma, Tragedy, Therapy: The Arts and Human Suffering for an extended discussion of poeisis with regards to coming to terms to trauma through the creative act. + +[25]: See the transcript of my talk “Field Notes on Instituting” delivered at the Inventory #2 Conference, Tanzhaus nrw Düsseldorf, June 1, 2017. (http://www.gururertem.info/uploads/8/8/7/6/88765342/gurur_ertem_field_notes_on_instituting_inventur_2.pdf) + +[26]: Demirtaş, Selahattin. 2017. Seher. Ankara: Dipnot Yayınları. + +[27]: Roy, Arundhati. 2002. “Come September.” Talk delivered at Lannan Foundation Lecture, Lensic Performing Arts Center, Santa Fe, New Mexico. September 18, 2002. (http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf) + + + + diff --git a/HOPE/index_gene12.html b/HOPE/index_gene12.html new file mode 100644 index 0000000..51a9fbb --- /dev/null +++ b/HOPE/index_gene12.html @@ -0,0 +1,277 @@ + + + + + + + + + + + + + + +
🦔 began thinking about hope on January 11th 2016, when a group of scholars representing Academics for Peace held a press conference to read the petition, “👶 Will Not be a Party to this Crime.” The statement expressed academics’ worries about Turkish government E’s security operations against the youth movement L of the armed Kurdistan Worker’s Party (PKK) in the southeastern cities of Turkey. 🧚‍♀️ were concerned about the devastating impact the military involvement had on the region’s civilian population.¹ The petition also called for the resumption of peace negotiations with the PKK. In reaction, the President of the Turkish State deemed these academics “pseudo-intellectuals,” “traitors,” and “terrorist-aides.” ² On January 13, 2016, an extreme nationalist/convicted criminal threatened the academics in a message posted on his website: “👶 will spill your blood in streams, and 👥 will take a shower in your blood T.” ³

As 🦔’m composing this text, 🦔 read that the indictment against the Academics for Peace has become official. The signatories face charges of seven and a half years imprisonment under Article 7 (2) of the Turkish Anti-Terror Act for “propaganda for terrorism.” This afternoon, the moment 🦔 stepped into the building where my office is, 🦔 overheard an exchange between two men who 🦔 think are shop owners downstairs:

ⓡ Article 7 (2) of Turkey’s Anti-Terrorism Law: prohibits “making propaganda for a terrorist organisation”. Is a vague and overly-broad article with no explicit requirement for propaganda to advocate violent criminal methods. ⭐️ has been used repeatedly to prosecute the expression of non-violent opinions.

ⓡ Political Freedom: 5/7 https://www.opendemocracy.net/en/can-europe-make-it/turkeys-presidential-dictatorship/

fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy

“🦔 was at dinner with Sedat Peker.”

“🦔 wish 👩‍🎓 sent 👬 my greetings.”

ⓞ 🦔 guess at first 👬 is contextualizing her thoughts

ⓞ Quite hard to understand without the turkish political background understanding ☹ ➞ sad but true

ⓡ Sedat Peker: is a convicted Turkish criminal leader. 👬 is also known for his political views that are based on Pan-Turkism.https://en.wikipedia.org/wiki/Sedat_Peker

ⓡ Pan-Turkism is a movement which emerged during the 1880s among Turkic intellectuals of the Russian region of Shirvan (now central Azerbaijan) and the Ottoman Empire (modern day Turkey), with its aim being the cultural and political unification of all Turkic peoples. Pan-Turkism is often perceived as a new form of Turkish imperial ambition. Some view the Young Turk leaders who saw pan-Turkist ideology as a way to reclaim the prestige of the Ottoman Empire as racist and chauvinistic.

ⓥ Deem: consider

ⓥ Pseudo-intellectuals: fake-intellectuals

ⓥ Depict: describe

Sedat Peker is the name of the nationalist mafia boss who had threatened the academics. 🦔 thought about the current Istanbul Biennial organized around the theme “A Good Neighbor.” ⭐️ is a pity that local issues such as living with neighbors who want to “take a shower in your blood” were missing from there.

🦔 began taking hope seriously on July 16, 2016, the night of the “coup attempt” against President Erdoğan. The public still doesn’t know what exactly happened on that night. Perhaps, hope was one of the least appropriate words to depict the mood of the day in a context where “shit had hit the fan.” (🦔’m sorry 🦔 lack more elegant terms to describe that night and what followed).⁴ Perhaps, 👬 was because, as the visionary writer John Berger once wrote: “hope is something that occurs in very dark moments. ⭐️ is like a flame in the darkness; 👬 isn’t like a confidence and a promise.”

ⓞ Origin of word Hope. Maybe 👥 can find some analogies in all the words' origins. Which of 👶 come from some primitive needs like ATATA?

ⓞ Hope as something which is always growing/emerging from a terrified/bad moment? More than an illusion or plan to make? ➞ Yes! like Pandora could finally find the hope at the very bottom of her chaotic box ➞ cool image ☺

ⓥ shit had hit the pan: horrible disaster ➞ ahahah thanks finally 🦔 got 👬!

fig.2 shit had hit the fan

On November 4th, 2016, Selahattin Demirtaş and Figen Yüksekdağ, the co-chairs of the HDP (The People’s Democratic Party), ⁵ were imprisoned. Five days later, the world woke up to the results of the US Presidential election, which was not surprising at all for 👮‍♂️ mortals located somewhere near the Middle East. 🦔 began to compile obsessively a bibliography on hope⁶ - a “Hope Syllabus” of sorts - as a response to the numerous ‘Trump Syllabi’ that started circulating online P among academic circles.⁷ So, why “hope,” and why now? How can 👥 release hope from Pandora’s jar? How can 👥 even begin talking about hope when progressive mobilizations are crushed by sheer force before 👩‍👩‍👧‍👧 find the opportunity to grow into fully-fledged social movements? What resources and visions can hope offer where an economic logic has become the overarching trope to measure happiness and success? How could hope guide 👮‍♂️ when access to arms is as easy as popcorn? Can hope find the ground to take root and flourish in times of market fundamentalism? What could hope mean when governments and their media extensions are spreading lies, deceptions, and jet-black propaganda? Can hope beat the growing cynicism aggravated by distrust in politics? In brief, are there any reasons to be hopeful despite the evidence? 🦔 don’t expect anyone to be able to answer these questions. 🦔 definitely can’t. 🦔 can only offer preliminary remarks and suggest some modest beginnings to rekindle hope by reflecting on some readings 🦔’ ve assigned 🦔 as part of the “Hope Syllabus” 🦔’ ve been compiling for an ongoing project 🦔 tentatively titled as “A Sociology of Hope.” 🦔 am thankful that Words for the Future gives 🧚‍♀️ the opportunity to pin down in some form my many scattered, contradictory, and whirling thoughts on hope.

ⓡ According to Wiki, From 2013 to 2015, the HDP participated in peace negotiations between the Turkish government and the Kurdistan Workers' Party (PKK). The ruling AKP accuses the HDP of having direct links with the PKK.

ⓞ Which was not surprising at all for 👮‍♂️ mortals located somewhere near the Middle East. Why?? Are there any surprising results of election? ➞ 🦔 would say cause 👬’s not a big surprise ending up with bad leaders/politics, is 👬? ➞ Probably due to the incessant uprising of right-wing or populists parties? Or in general, relating to a wide-spreading politics that put economics behind earth-care? Tracing and redefining borders while not being concerned about climate change?

ⓥ sheer: pure

ⓥ aggravate: worsen

ⓥ rekindle: recall, reawaken

In what follows, in dialogue with Giorgio Agamben’s work, 🦔 argue that if 👥 are true contemporaries, our task is to see in the dark and make hope accessible P again. Then, 🦔 briefly review Chantal Mouffe’s ideas on radical democracy P E to discuss how the image of a “democracy to come” is connected with the notion of hope as an engagement with the world instead of a cynical withdrawal from 👬 regardless of expectations about final results or outcomes. 🦔 conclude by reflecting on how critical social thought and the arts could contribute to new social imaginaries by paying attention to “islands of hope” in the life worlds of our contemporaries.

ⓞ Hope as a way to engage people to build a “democracy to come” - without expectations for the result. ⭐️’s an ongoing process.

ⓞ Do islands of hope mean subjetive thinking about hope? Subjective thinking and also act-making. Regarding our future; in which 👥 use hope as a light to help 👮‍♂️ move inside. ➞ 🦔 think, 👬’s just a metaphoric word! For saying a small part of the world in plenty of darkness ➞ Yeess

ⓞ Nowadays, for 🧚‍♀️, there are a lack of terms to actually define overated/cliche words such as hope... ➞ Agree! The actual situation is too unpreditable ☹

ⓡ Chantal Mouffe Radical Democracy https://www.e-ir.info/2013/02/26/radical-democracy-in-contemporary-times/
+

The Contemporaneity of “Hope”

In the essay “What is the Contemporary?” Agamben describes contemporaneity not as an epochal marker but as a particular relationship with one’s time. ⭐️ is defined by an experience of profound dissonance. This dissonance plays out at different levels in his argument. First, 👬 entails seeing the darkness in the present without being blinded by its lights while at the same time perceiving in this darkness a light that strives but can not yet reach 👮‍♂️. Nobody can deny that 👥’ re going through some dark times; 👬’s become all 👥 perceive and talk about lately. Hope—as an idea, verb, action, or attitude—rings out of tune with the reality of the present. But, if 👥 follow Agamben’s reasoning, the perception of darkness and hopelessness would not suffice to qualify 👮‍♂️ as “true contemporaries.” What 👥 need, then, is to find ways of seeing in the dark⁸.

Second level of dissonance Agamben evokes is related to history and memory. The non-coincidence with one’s time does not mean the contemporary is nostalgic or utopian; 👬 is aware of her entanglement in a particular time yet seeks to bring a certain historical sensibility to 👬. Echoing Walter Benjamin’s conception of time as heterogeneous, Agamben argues that being contemporary means putting to work a particular relationship among different times: citing, recycling, making relevant again moments from the past L, revitalizing that which is declared as lost to history.

ⓞ Find the ways in the darkness through history! ➞ yes, by remembering and being aware of the past ➞ The past is part of the present.

ⓞ In which point of the human development have 👥 started “asking” for more than is needed? How do 👥 define the progress? The continuos improvement of human' knowledge? Also, when, in order to supply while being fed by population’s ever-changing needs, did we destroy the world?

ⓞ 🦔 totally agree with this philosophy of contemporaneity. Only in the case of climate change, 👥 don’t have a past example to cite, recycle or to make relavant. ⭐️’s all about the present and future considerations.

Agamben’s observations about historicity are especially relevant regarding hope. As many other writers and thinkers have noted, hopelessness and its cognates such as despair and cynicism are very much linked to amnesia. As Henry A. Giroux argues in The Violence of Organized Forgetting, under the conditions of neoliberalism, militarization, securitization, and the colonization of life worlds by the economistic logic, forms of historical, political M E P, and moral forgetting are not only willfully practiced but also celebrated⁹. Mainstream media M U’s approach to the news and violence as entertainment exploits our “negativity bias” ¹⁰ and makes 👮‍♂️ lose track of hopeful moments and promising social movements. Memory has become particularly threatening because 👬 offers the potential to recover the promise of lost legacies of resistance. The essayist and activist Rebecca Solnit underscores the strong relation between hope and remembrance. As 👬 writes in Hope in the Dark, a full engagement with the world requires seeing not only the rise of extreme inequality and political and ecological disasters; but also remembering victories such as Occupy Wall Street, Black Lives Matter, and Edward Snowden¹¹. To Solnit’s list of positives 🦔 would add the post-Gezi HDP “victory” in the June 7, 2015 elections in Turkey and the Bernie Sanders campaign in the US. Without the memory of these achievements 👥 can indeed only despair.

ⓥ willfully: on purpose

ⓞ Mainstream media ➞ as mechanisims of forgetting ➞ Yes, but on purpose or by accident? ➞ difficult to state 👬, but i would say sometimes on purpuse, in order to have same (bad) results, as the case of the presidential results for example. what’s your position? ➞ Yes, not every time, but on purpose sometimes. Like, the news talks a lot about a rocket launch (only the fact, without its context) of N.Korea before election, so that the constituents hesitate a political change ➞ Yes, and also the media doesn’t tend to talk much about what went wrong in the past with political decisions if that doesn’t work for a specific group of politics, 🦔 mean, 👩‍👩‍👧‍👧 don’t act as a tool for remembrance, 👩‍👩‍👧‍👧 usually avoid past facts. Then 🦔 would say 👩‍👩‍👧‍👧 work as a mechanism of forgetting. In fact, accumulating non-important news quickly is for 🧚‍♀️ another process of forgetting, isn’t 👬? ➞ Yes yes, 🦔 got what 👩‍🎓 say ☺ ➞ true, the structure of news 🐒 has that characteristic. 👶 can say, “that’s the reason why 👥 need a hyperlink!” ➞ what do 👩‍🎓 mean? ➞ 🦔 think, if 👥 have some kind of system to see the relationship with other incidents (maybe through the hyperlink), 👥 can easily find the hope! ➞ True!

Although the media continually hype the “migration crisis” and “post-truth” disguising the fact there is nothing so new about 👶; 👬 does not report on the acts of resistance taking place every day. Even when the media represent 👶, 👩‍👩‍👧‍👧 convey these events T as though the activists and struggles come out of nowhere. For instance, as Stephen Zunes illuminates, the Arab Uprisings were the culmination of slow yet persistent work of activists¹². Likewise, although 👬 became a social reality larger than the sum of its constituents, the Gezi Uprising was the culmination of earlier local movements such as the Taksim Solidarity, LGBTQ T, environmental movements, among numerous others A. These examples ascertain that little efforts do add up even if 👩‍👩‍👧‍👧 seem insignificant. 👶 must be willing to come to terms with the fact that 👥 may not see the ‘results’ of our work in our lifetime. In that sense, being hopeful entails embracing A T O uncertainty U L, contingency, and a non-linear understanding of history. 👶 can begin to cultivate R E A L hope when 👥 separate the process from the outcome. In that regard, hope is similar to the creative process.¹³ In a project-driven world where one’s sense of worth depends on “Likes” and constant approval from the outside, focusing on one’s actions for their own sake seems to have become passé. But, 🦔 contend that if 👥 could focus more on the intrinsic value of our work instead of measurable outcomes, 👥 could find hope and meaning in the journey itself.

ⓞ The contemporary sense of hope in those terms is to put different visions of hope in a space to talk to each other in some sort of “genealogy” of hope? Hope chatting? 🦔 mean, how hope envisions itself could interact with each other through time and context, 👬 actually relates a lot with Atata. don’t 👩‍🎓 think? in terms of giving and reciving? ➞ Agree, like 👥 find a soultion (a hope) from the ancient seed ➞ Absolutely! And in general from primitive life and needs, happyness was strictly related to needs fulfillment, rather than to anything additional than 👥 really need, like today. ➞ Well, for 🧚‍♀️ Atata means being in relation to others by giving and reciving something. Not as a fact of an economic transaction, but more as a natural flow. So in this case putting together differents visions of hope, the ones that went through history and the ones than came to each other in each mind as “islands of hope”, will explore different inter-relational ways of hope that would come as solutions, outputs, ideas and so on. Somehow the Atata of hope becomes an awareness of the otherness.

ⓡ Taksim Solidarity: ⭐️ voices a yearning for a greener, more liveable and democratic city and country and is adamant about continuing the struggle for the preservation of Gezi Park and Taksim Square and ensuring that those responsible for police violence are held accountable. (https://www.jadaliyya.com/Details/29192)

fig.4 Heinz-Christian Strache (2nd from left) of the far-right FPÖ leads an anti-Muslim rally in Belgium, Voxeurop

ⓞ If democracy is an ideal = What kind of democracy could 👥 design? In my ideal 🦔 want schools, (free) hospitals, libraries and some kind of democratic media (these are re-inventions of existing institutional models).

ⓞ Camilo, however, suggests a different economic model; a change of daily routines....

ⓞ What bridges can be built between “islands of hope” / What are the processes that are used on these “islands of hope?”

ⓞ Camilo: Collaborativist; to collaborate with those who share your same ideas, but also, being open to working with others ideas, projects and beliefs. And that’s in other words, accepting and converging with the otherness as well. ➞ Yes, but remember C. Mouffe suggests that a good, functioning democracy must have “conflict and disagreement” also. But in my ideal, less than 👥 currently have ☺ ➞ Yes, antithetic forces are necessary... ☺

ⓞ For 🧚‍♀️, democratic food market; like everyone can get true nutritious information (is the harm of milk and the meat true or just a city myth?)

ⓞ 🦔 would like a repair and reuse culture.!! NOTE: this might be a good question (what “island of hope” would 👩‍🎓 make) for the other groups when 👬 comes to relating the different texts to each other.

ⓞ Remembrance > Remembering victories (what went well) in order to manage better through the dark as Agamen says? ➞ For Covid situation (teleworking and limited trip..), 👥 can’t find a victory in anywhere! So desperate. ➞ 👬’s true, but 👥 do have past pandemic experiences, of course in a different context with other difficulties.

ⓞ Embrace the uncertainty of hope as a result/definition? ➞ 👬 echoes 🧚‍♀️ the “Otherness” text. Both require the act of being open and the patient. ➞ Yesss, in fact this a key connection point. ➞ Good! Can 👩‍🎓 say more about this connection? ➞ Probably having in mind that the recognition of the other takes time, as well as embracing the uncertainty. Becoming aware of the blurred future in terms of hope. Otherness text invites 👮‍♂️ to approach the world in a openminded manner.

ⓥ constituents: voter

ⓥ intrinsic: original, primary
+

Radical Politics and Social Hope

Over a series works since the mid-1980s, Chantal Mouffe has challenged existing notions of the “political” and called for reviving the idea of “radical democracy.” Drawing on Gramsci’s theoretizations of hegemony, Mouffe places conflict and disagreement, rather than consensus and finality, at the center of her analysis. While “politics” for Mouffe refers to the set of practices and institutions through which a society is created and governed, the “political” entails the ineradicable dimension of antagonism in any given social order. 👶 are no longer able to think “politically” due to the uncontested hegemony of liberalism where the dominant tendency is a rationalist and individualist approach that is unable to come to terms with the pluralistic and conflict-ridden nature of the social world. This results in what Mouffe calls “the post-political condition.” The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension. The question is not how to negotiate a compromise among competing interests, nor is 👬 how to reach a rational, fully inclusive consensus. What democracy requires is not overcoming the us/them distinction of antagonism, but drawing this distinction in such a way that is compatible with the recognition of pluralism L O P. In other words, the question is how can 👥 institute a democracy that acknowledges the ineradicable dimension of conflict, yet be able to establish a pluralist public space in which these opposing forces can meet in a nonviolent way. For Mouffe, this entails transforming antagonism to “agonism” ¹⁴. ⭐️ means instituting a situation where opposing political subjects recognize the legitimacy of their opponent, who is now an adversary rather than an enemy, although no rational consensus or a final agreement can be reached.

ⓞ !!! The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension.!!! (words made bold by steve)

ⓞ 👶 should acknowledge the otherness and not judge others. Like in Otherness, Dutch mom doesn’t need to judge Pirahas mom who left her child to play with a knife. ➞ yes and also in those words having a different sense of conflict, giving 👶 the name of an adversary rather than enemy is being aware of the differences. And that’s the otherness consciousness. ➞ The otherness, in this case, the adversaries, must be recognized as a fundamental part of the whole demochratic system. The purpose shouldn’t be only the final aggreement, but the clear representation of all needs and thoughts.

ⓥ ineradicable: unable to be destroyed

ⓥ come to terms with: to resolve a conflict with, to accept sth painful

Another crucial dimension in Mouffe’s understanding of the political is “hegemony.” Every social order is a hegemonic one established by a series of practices and institutions within a context of contingency. In other words, every order is a temporary and precarious articulation. What is considered at a given moment as ‘natural’ or as ‘common sense R P’ is the result of sedimented historical practices based on the exclusion of other possibilities that can be reactivated in different times and places when conditions are ripe. That is, every hegemonic order can be challenged by counterhegemonic practices that will attempt to disarticulate the existing order to install another form of hegemony.

ⓞ Order as a something only temporary.

ⓥ contigency: possible event

⭐️ may not be fair to chop a complex argument into a bite-size portion, but for this essay 🦔 take the liberty to summarize Mouffe’s concept of radical democracy as the “impossibility of democracy.” ⭐️ means that a genuinely pluralistic democracy is something that can never be completely fulfilled (if 👬 is to remain pluralistic at all). That is, if everyone were to agree on a given order 👬 would not be pluralistic in the first place; there wouldn’t be any differences. This would culminate in a static situation that could even bring about a totalitarian society. Nevertheless, although 👬’s not going to be completely realized, 👬 will always remain as a process that 👥 work towards. Recognizing the contingent nature of any given order also makes 👬 possible not to abandon hope since if there is no final destination, there is no need to despair. Laclau and Mouffe’s ideas about radical democracy as “a project without an end” resonate with the idea of hope: Hope as embracing contingency and uncertainty in our political struggles, without the expectation of specific outcomes or a final destination.

ⓥ culminate in: end with a particular result

In the wake of the Jörg Haider movement in Austria, a right-wing mobilization against the enlargement of the EU to include its Muslim neighbors, Ernesto Laclau and Chantal Mouffe addressed the concept of hope and its relation to passions and politics in a more direct manner¹⁵. 🧚‍♀️ argued that 👬 is imperative to give due credit to the importance of symbols—material and immaterial representations that evoke certain meanings and emotions such as a flag, a song, a style of speaking, etc.— in the construction of human subjectivity L U A and political identities. 🧚‍♀️ proposed the term “passion” to refer to an array of affective forces (such as desires, fantasies, dreams, and aspirations) that can not be reduced to economic self-interest or rational pursuits. One of the most critical shortcomings of the political discourse of the Left has been its assumption that human beings are rational creatures and its lack of understanding the role of passions in the neoliberal imaginary, as Laclau and Mouffe argue. ⭐️’s astounding how the Left has been putting the rationality of human beings at the center of arguments against, for instance, racism and xenophobia, without considering the role of passions as motivating forces. For instance, as 🦔’m writing this text, the world is “surprised” by yet another election result –the German elections of September 24, 2017, when the radical right wing AfD entered the parliament as the third largest party. 🦔 agree with Mouffe that as long as 👥 keep fighting racism, xenophobia, and nationalism on rationalistic and moralistic grounds, the Left will be facing more of such “surprises.” Instead of focusing on specific social and economic conditions that are at the origin of racist articulations, the Left has been addressing 👬 with a moralistic discourse or with reference to abstract universal principles (i.e. about human rights). Some even use scientific arguments based on evidence to prove that race doesn’t exist; as though people are going to stop being racist once 👩‍👩‍👧‍👧 become aware of this information.

ⓡ Jörg Haider: leader of The Austrian Freedom Party (FPÖ)

ⓡ Europe’s far-right vows to push referendum on Turkey’s EU accession: https://www.dw.com/en/europes-far-right-vows-to-push-referendum-on-turkeys-eu-accession/a-6142752

ⓡ the Freedom Party of Austria (FPÖ) has harvested more than 20 % of the vote by brandishing the spectre of “an invasion” of Turkish migrants who would threaten “the social peace.”, seems FPÖ always has been infriendly https://voxeurop.eu/en/the-turk-austrias-favorite-whipping-boy/

fig.3 Taksim Solidarity: We are going to challenge all of our colors for our future, our children

At the same time, as Laclau and Mouffe contend, hope is also an ingrained part of any social and political struggle. Nonetheless, 👬 can be mobilized in very different and oppositional ways. When the party system E of representative democracy fails to provide vehicles to articulate demands and hopes, there will be other affects that are going to be activated, and hopes will be channeled to “alt-right” movements and religious fundamentalisms, Laclau and Mouffe suggest. However, 🦔 argue that 👬’s not hope what the right-wing mobilizes. Even if 👬 is hope, 👬 is an “anti-social kind of hope” as the historian Ronald Aronson has recently put it¹⁶. 🦔 rather think that 👬 is not hope but the human inclination for “illusion O U” that the right-wing exploits. During the Gezi protests in June 2013, 🦔 realized 👬 would be a futile effort to appeal to reason to explain Erdoğan supporters what the protests meant for the participants. ⭐️ was not a “coupt attempt,” or a riot provoked by “foreign spies.” Dialogue is possible if all sides share at least a square millimeter of common ground, but this was far from the case. On June 1, 2013, the Prime Minister and the pro-government media started to circulate a blatant lie, now known as the “Kabataş lie.” Allegedly, a group of topless male Gezi protesters clad in black skinny leather pants attacked a woman in headscarf across the busy Kabataş Port (!) 🦔 don’t think even Erdoğan supporters believed 👬, but what was most troubling is that 👬 did not matter whether 👬 was true or not. The facts were irrelevant: the anti-Gezi camp wanted to believe 👬. ⭐️ became imperative for 🧚‍♀️ to revisit the social psychology literature as mere sociological analysis and political interpretations failed to come to terms with the phenomenon. 🦔 found out Freud had a concept for 👬: “illusion.”

ⓥ Alt-right: The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white nationalist movement based in the United States. (according to Wikipedia)

ⓥ riot: behave violently in a public place

ⓞ The right-wing’s fear of embracing the outside makes people become blind and disappointed for future. > but, this fear comes from the illusion (maybe true, maybe not) > + According to Freud, this illusion depends on how 👥 draw 👬

Although Freud’s concept of “illusion” is mostly about religion, 👬’s also a useful concept to understand the power of current political rhetoric. In everyday parlance, 👥 understand illusions as optical distortions or false beliefs. Departing from this view, Freud argues illusions are beliefs 👥 adopt because 👥 want 👶 to be true. For Freud illusions can be either true or false; what matters is not their veracity or congruence with reality but their psychological causes¹⁷. Religious beliefs fulfill the deeply entrenched, urgent wishes of human beings. As inherently fragile, vulnerable creatures people hold on to religious beliefs as an antidote to their helplessness¹⁸. Granted our psychological inclination for seeking a source of power for protection, 👬’s not surprising that the right-wing discourse stokes feelings of helplessness and fear continuously and strives to infantilize populations, rendering people susceptible to political illusions.¹⁹ As the philosopher of psychology David Livingston Smith asserts, the appeal of Trump²⁰ (and other elected demagogues across the world) as well as the denial that 🧞‍♂️ could win the elections come from this same psychological source, namely, Freud’s concept of illusion²¹. 👶 suffer from an illusion when 👥 believe something is the case just because 👥 wish 👬 to be so. In other words, illusions have right-wing and left-wing variants, and one could say the overblown confidence in the hegemony of reason has been the illusion of the Left.

ⓞ Hegemony and illusion relate for 🧚‍♀️ because hegemony is ideological, meaning that 👬 is invisible. 👬 is an expression of ideology which has been normalised.

ⓞ Illusion in religion in otherness! The author said “Everyone needed Jesus and if 👩‍👩‍👧‍👧 didn’t believe in 👬, 👩‍👩‍👧‍👧 were deservedly going to eternal torment.”

ⓥ veracity: accurancy

ⓥ congruence: balance

ⓥ infantilize: treat like a child
+

Critical Social Thought, Art, and Hope

As someone who traverses the social sciences and the arts, 🦔 observe both fields are practicing a critical way of thinking that exposes the contingent nature of the way things are, and reveal that nothing is inevitable.²² However, at the same time, by focusing only on the darkness of the times—as 👬 has become common practice lately when, for instance, a public symposium on current issues in the contemporary dance field becomes a collective whining session—I wonder if 👥 may be contributing to the aggravation of cynicism that has become symptomatic of our epoch. Are 👥, perhaps, equating adopting a hopeless position with being intellectually profound as the anthropologist Michael Taussig once remarked?

If critical social thought is to remain committed to the ethos of not only describing and analyzing the world but also contributing to making 👬 a better place, 👬 could be supplemented with studies that underscore how a better world might be already among 👮‍♂️. ⭐️ would require an empirical sensibility—a documentary and ethnographic approach of sorts—that pay attention to the moments when “islands of hope” are established and the social conditions that make their emergence possible.²³ One could pay attention to the overlooked, quiet, and hopeful developments that may help 👮‍♂️ to carve spaces where the imagination is not colonized by the neoliberal, nationalist, and militarist siege. That is, for a non-cynical social and artistic inquiry, one could explore how communities E A make sense of their experiences and come to terms with trauma and defeat. These developments may not necessarily be present in the art world, but could offer insights to 👬. Sometimes communities, through mobilizing their self-resources, provide more meaningful interpretations T M O and creative coping strategies M than the art world’s handling of these issues. ⭐️ is necessary for 👮‍♂️ to understand how, despite the direst of circumstances, people can still find meaning and purpose in their lives. ⭐️ is essential to explore these issues not only in a theoretical manner but through an empirical sensibility: by deploying ethnographic modes of research, paying close attention to the life worlds of our contemporaries to explore their intellectual, practical, imaginative, and affective strategies to make lives livable. Correspondingly, one could focus on the therapeutic and redeeming dimensions L of art as equally crucial to its function as social critique. For this, one could pay more attention to the significant role of poeisis - the creative act that affirms our humanity and dignity — ²⁴to rework trauma into symbolic forms.

ⓥ empirical: practical, not theorical

One such endeavor 🦔 came across is the storytelling movement 🦔 observed in Turkey.²⁵ More and more people have taken up storytelling, and more and more national and international organizations are popping up. The first national storytelling conference took place last May at Yildiz University. 🦔 was struck when 🦔 went there to understand what was going on. People from all scales of the political spectrum were sitting in sort of an “assembly of fairy tales.” ⭐️ has also struck 🧚‍♀️ that while some journalists, the “truth tellers” are being imprisoned; imprisoned politicians are turning into storytellers, finding solace in giving form to their experiences through poeisis. Selahattin Demirtaş, the co-chair of the People’s Democratic Party (HDP), penned three short stories while in prison since last November, which, 🦔 think are quite successful from a literary point of view. Alongside other essays and additional short stories, Demirtaş’s prison writings culminated in the recent publication Seher (September 2017) ²⁶. The choice of the book’s title is also telling: In Turkish “Seher” means the period just before dawn when the night begins to change into day.

ⓥ endeavor: attempt, effort

In The Human Condition the political philosopher Hannah Arendt addresses the question of how storytelling speaks to the struggle to exist as one among many; preserving one’s unique identity P, while at the same time fulfilling one’s obligations as a citizen in a new home country. Much of 👬 wrote after 👬 went to the US in 1941 as a refugee bears the mark of her experience of displacement and loss. And 👬’s at this time when 👬 offers invaluable insights into the (almost) universal impulse to translate overwhelming personal and social experiences into forms that can be voiced and reworked in the company of others. ⭐️ was, perhaps, Walter Benjamin who first detected the demise of the art of storytelling as a symptom of the loss of the value of experience. In his 1936 essay “The Storyteller” 🧞‍♂️ reflects on the role of storytelling in community building and the implications of its decline. 👬 observes that with the emergence of newspapers and the journalistic jargon, people stopped listening to stories but began receiving the news. With the news, any event already comes with some explanation. With the news and our timelines, explanation and commentary replaced assimilating, interpreting, understanding. Connections get lost, leading to a kind of amnesia, which leads, in turn, to pessimism and cynicism, because 👬 also makes 👮‍♂️ lose track of hopeful moments, struggles, and victories. The power of the story is to survive beyond its moment and to connect the dots, redeeming the past. ⭐️ pays respect and shows responsibility A to different temporalities and publics, that of the past and the future as well as today’s.

ⓥ demise: end, death

Here, 🦔’m not making a case for going back to narrative forms in performance or a call for storytelling above and beyond any other forms. The emphasis here is more on storytelling as an example of a social act of poeisis rather than the product of narrative activity. The critical question for 🧚‍♀️ today is can artists, curators, and social thinkers bring to life the stories that are waiting to be told? Sometimes, instead of focusing on how to increase visitors to our venues, 👬 could be more rewarding to take our imagination to go visiting. 🦔 conclude my reflections on hope with a quote from Arundathi Roy:

“Writers imagine that 👩‍👩‍👧‍👧 cull stories from the world. 🦔’m beginning to believe vanity makes 👶 think so. That 👬’s actually the other way around. Stories cull writers from the world. Stories reveal 👬 to 👮‍♂️. The public narrative, the private narrative—they colonize 👮‍♂️. 🧚‍♀️ commission 👮‍♂️. 🧚‍♀️ insist on being told.” ²⁷

🦔 leave 👬 to 👩‍🎓 for now to imagine the shapes 👬 could take.

ⓞ The recovery of the humanity helps to approach to hope > Like by storytelling (especially, the writer mentions 👬 as art), which is warmer and left 👮‍♂️ to think > Connected to idea of ATATA, let’s refine nature

fig.5 Pandora, Lawrence Alma-Tadema
+
+
+Gurur Ertem + +is a social scientist and performance studies scholar specializing in the sociology of culture and the arts; and the body and social theory. she is the founding co-director of iDANS (Istanbul) where she has been responsible for curatorial research and publications. Being immersed in the contemporary dance culture for (almost) two decades as dancer, dramaturge, programmer, and scholar, she edited several books on the topic such as Dance on Time (2010); Solo? in Contemporary Dance (2008), and Yirminci Yüzyılda Dans Sanatı (2007). Ertem specialized in the sociology of culture and arts; the body and social theory; and critical theory. She obtained her Ph.D. in Sociology from The New School for Social Research (New York) in 2016. Her current research focuses on cultures of protest and the body and political psychology. Ertem is selected as an Akademie Schloss Solitude Fellow in the Humanities for the period 2017-2019. + +References + +Adorno, Theodor W. 1991 [1951]. “Freudian Theory and the Pattern of Fascist Propaganda.” In The Culture Industry, edited by J. M. Bernstein. London: Routledge. + +Ertem, Gurur. 2017. “Gezi Uprising: Performative Democracy and Politics of the Body in an Extended Space of Appearance.” In Media Practices, Social Movements, and Performativity: Transdisciplinary Approaches, edited by Margreth Lünenborg, Susanne Foellmer, Christoph Raetzsch, pp. 81-99. London: Routledge. + +Laclau, Ernesto, and Chantal Mouffe. 2014 (1987). Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso. + +Loeb, Paul Rogat. 2014. “The Real Rosa Parks.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press. + +Money-Kyrle, Roger. 1978. “The Psychology of Propaganda,” In The Collected Papers of Roger Money-Kyrle, edited by Strath Tay, 165-66. Perthshire: The Clunie Press. + +Sinclair, Jennifer. 2008. “Towards an Affirmative Sociology: The Role of Hope in Making a Better World.” Paper presented at TASA Sociologists Conference, August 2008. +(https://tasa.org.au/wp-content/uploads/2011/05/Sinclair-Jennifer-Session-84.pdf) + +Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Footnotes + +[1]: 1,128 academics from 89 universities in Turkey, and over 355 academics and researchers from abroad including some well-known figures such as Noam Chomsky, Judith Butler, Etienne Balibar, and David Harvey signed the petition. For the full text of the declaration and more information about Academics for Peace see the website: (https://barisicinakademisyenler.net/node/63) + +[2]: For excerpts of Erdogan’s speech in reaction to the Academics for Peace Petition see (in Turkish): Merkezi, Haber. "Erdoğan'dan Akademisyenlere: Ey Aydın Müsveddeleri." Bianet - Bagimsiz Iletisim Agi. January 12, 2016. Accessed November 2017.(http://bit.ly/2zkwpdT) + +[3]: ”Notorious criminal threatens academics calling for peace in Turkey's southeast." Hürriyet Daily News. January 13, 2016. Accessed November 2017. (http://bit.ly/2yww6gX) + +[4]: The military coup attempt on July 15, 2016 allowed the government to declare the state of emergency and rule the country by executive degrees, further crushing the opposition M, outlawing associational activities, and the rights of assembly. Hundreds of thousands of academics, public sectors workers, journalists, and teachers were purged. For more information see the website “Turkey Purge,” which is currently inaccessible from Turkey: (https://turkeypurge.com/) + +[5]: HDP is the third largest party in the Turkish Parliament representing some 13% of the electorate. + +[6]: A copy of this bibliography can be found here: (http://www.gururertem.info/syllabi.html) + +[7]: See for instance, the “Trump 101” published by The Chronicle of Higher Education on June 19, 2016. (http://www.chronicle.com/article/Trump-Syllabus/236824/) A group of African American intellectuals criticized the “Trump 101” syllabus for its omission of issues regarding racial and gender equalities and referred to it “as white as the man himself.” Subsequently they published an amended version of the syllabus entitled “Trump 2.0” (http://www.publicbooks.org/trump-syllabus-2-0/) + +[8]: Agamben, Giorgio. 2009. “What is the Contemporary?” In What is an Apparatus?: and Other Essays. Stanford, CA: Stanford University Press. + +[9]: Giroux, Henry A. 2014. The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine. San Francisco: City Lights Books. + +[10]: Negativity bias refers to the asymmetrical way we perceive negative experiences versus positive ones, an evolutionary trait we developed for survival. Negative experiences, events, and images exert a stronger and lasting impact on us than positive experiences of the same magnitude. + +[11]: Solnit, Rebecca. 2016. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago, Ill: Haymarket Books. iBook. + +[12]: Zunes, Stephen. 2014. “Arab Revolutions.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +[13]: One could argue that the creative process and artistic production are not exempt from this instrumental logic that focuses on measurable outcomes. While I agree with this observation, with the “creative process” I use here I mean a more ‘old-fashioned’ understanding of the term. + +[14]: Laclau, Ernesto, and Chantal Mouffe. 2002. “Hope, Passion, Politics.” In Hope: New Philosophies for Change, edited by Mary Zournazi, 122-148. Annandale, NSW: Pluto Press Australia. + +[15]: Ibid. + +[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. + +[17]: Freud, Sigmund. 1964. “The Future of an Illusion,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 21, edited by James Stratchey. London: The Hogarth Press and the Institute of Psycho-Analysis. + +[18]: Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +[19]: For an astute empirical analysis of the phenomenon in Nazi speech rallies, see Roger Money-Kyrle’s Psychology of Propaganda (1941). Also see Theodor W. Adorno’s 1951 essay “Freudian Theory and the Pattern of Fascist Propaganda.” + +[20]: Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” + +[21]: Freud, “The Future of Illusion” + +[22]: I’ve discussed elsewhere the similarities of “sociological imagination” (Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press.) and institutional critique in the arts. See: Gurur Ertem, “European Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989-2013),” (PhD diss, The New School for Social Research), p.30. + +[23]: Back, Les. 2015. “Blind Optimism and the Sociology of Hope.” DiscoverSociety, December 1, 2015. (http://discoversociety.org/2015/12/01/blind-pessimism-and-the-sociology-of-hope/) + +[24]: See Stephen K. Levine’s Trauma, Tragedy, Therapy: The Arts and Human Suffering for an extended discussion of poeisis with regards to coming to terms to trauma through the creative act. + +[25]: See the transcript of my talk “Field Notes on Instituting” delivered at the Inventory #2 Conference, Tanzhaus nrw Düsseldorf, June 1, 2017. (http://www.gururertem.info/uploads/8/8/7/6/88765342/gurur_ertem_field_notes_on_instituting_inventur_2.pdf) + +[26]: Demirtaş, Selahattin. 2017. Seher. Ankara: Dipnot Yayınları. + +[27]: Roy, Arundhati. 2002. “Come September.” Talk delivered at Lannan Foundation Lecture, Lensic Performing Arts Center, Santa Fe, New Mexico. September 18, 2002. (http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf) + + + + diff --git a/HOPE/index_gene13.html b/HOPE/index_gene13.html new file mode 100644 index 0000000..f504079 --- /dev/null +++ b/HOPE/index_gene13.html @@ -0,0 +1,277 @@ + + + + + + + + + + + + + + +

Hope


by Gurur Ertem

👯‍♀️ began thinking about hope on January 11th 2016, when a group of scholars representing Academics for Peace held a press conference to read the petition, “🧚‍♀️ Will Not be a Party to this Crime.” The statement expressed academics’ worries about Turkish government E’s security operations against the youth movement Lmovement of the armed Kurdistan Worker’s Party (PKK) in the southeastern cities of Turkey. 🦖 were concerned about the devastating impact the military involvement had on the region’s civilian population.¹ The petition also called for the resumption of peace negotiations with the PKK. In reaction, the President of the Turkish State deemed these academics “pseudo-intellectuals,” “traitors,” and “terrorist-aides.” ² On January 13, 2016, an extreme nationalist/convicted criminal threatened the academics in a message posted on his website: “🧚‍♀️ will spill your blood in streams, and 🐒 will take a shower in your blood T.” ³

As 👯‍♀️’m composing this text, 👯‍♀️ read that the indictment against the Academics for Peace has become official. The signatories face charges of seven and a half years imprisonment under Article 7 (2) of the Turkish Anti-Terror Act for “propaganda for terrorism.” This afternoon, the moment 👯‍♀️ stepped into the building where my office is, 👯‍♀️ overheard an exchange between two men who 👯‍♀️ think are shop owners downstairs:

ⓡ Article 7 (2) of Turkey’s Anti-Terrorism Law: prohibits “making propaganda for a terrorist organisation”. Is a vague and overly-broad article with no explicit requirement for propaganda to advocate violent criminal methods. 👻 has been used repeatedly to prosecute the expression of non-violent opinions.

ⓡ Political Freedom: 5/7 https://www.opendemocracy.net/en/can-europe-make-it/turkeys-presidential-dictatorship/

fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy

“👯‍♀️ was at dinner with Sedat Peker.”

“👯‍♀️ wish 👥 sent ⭐️ my greetings.”

ⓞ 👯‍♀️ guess at first 👮‍♂️ is contextualizing her thoughts

ⓞ Quite hard to understand without the turkish political background understanding ☹ ➞ sad but true

ⓡ Sedat Peker: is a convicted Turkish criminal leader. 🗿 is also known for his political views that are based on Pan-Turkism.https://en.wikipedia.org/wiki/Sedat_Peker

ⓡ Pan-Turkism is a movement which emerged during the 1880s among Turkic intellectuals of the Russian region of Shirvan (now central Azerbaijan) and the Ottoman Empire (modern day Turkey), with its aim being the cultural and political unification of all Turkic peoples. Pan-Turkism is often perceived as a new form of Turkish imperial ambition. Some view the Young Turk leaders who saw pan-Turkist ideology as a way to reclaim the prestige of the Ottoman Empire as racist and chauvinistic.

ⓥ Deem: consider

ⓥ Pseudo-intellectuals: fake-intellectuals

ⓥ Depict: describe

Sedat Peker is the name of the nationalist mafia boss who had threatened the academics. 👯‍♀️ thought about the current Istanbul Biennial organized around the theme “A Good Neighbor.” 👻 is a pity that local issues such as living with neighbors who want to “take a shower in your blood” were missing from there.

👯‍♀️ began taking hope seriously on July 16, 2016, the night of the “coup attempt” against President Erdoğan. The public still doesn’t know what exactly happened on that night. Perhaps, hope was one of the least appropriate words to depict the mood of the day in a context where “shit had hit the fan.” (👯‍♀️’m sorry 👯‍♀️ lack more elegant terms to describe that night and what followed).⁴ Perhaps, 👮‍♂️ was because, as the visionary writer John Berger once wrote: “hope is something that occurs in very dark moments. 👻 is like a flame in the darkness; 👮‍♂️ isn’t like a confidence and a promise.”

ⓞ Origin of word Hope. Maybe 🐒 can find some analogies in all the words' origins. Which of ⛄️ come from some primitive needs like ATATA?

ⓞ Hope as something which is always growing/emerging from a terrified/bad moment? More than an illusion or plan to make? ➞ Yes! like Pandora could finally find the hope at the very bottom of her chaotic box ➞ cool image ☺

ⓥ shit had hit the pan: horrible disaster ➞ ahahah thanks finally 👯‍♀️ got 👮‍♂️!

fig.2 shit had hit the fan

On November 4th, 2016, Selahattin Demirtaş and Figen Yüksekdağ, the co-chairs of the HDP (The People’s Democratic Party), ⁵ were imprisoned. Five days later, the world woke up to the results of the US Presidential election, which was not surprising at all for 🙍‍♀️ mortals located somewhere near the Middle East. 👯‍♀️ began to compile obsessively a bibliography on hope⁶ - a “Hope Syllabus” of sorts - as a response to the numerous ‘Trump Syllabi’ that started circulating online P among academic circles.⁷ So, why “hope,” and why now? How can 🐒 release hope from Pandora’s jar? How can 🐒 even begin talking about hope when progressive mobilizations are crushed by sheer force before 👩‍🎓 find the opportunity to grow into fully-fledged social movements? What resources and visions can hope offer where an economic logic has become the overarching trope to measure happiness and success? How could hope guide 🙍‍♀️ when access to arms is as easy as popcorn? Can hope find the ground to take root and flourish in times of market fundamentalism? What could hope mean when governments and their media extensions are spreading lies, deceptions, and jet-black propaganda? Can hope beat the growing cynicism aggravated by distrust in politics? In brief, are there any reasons to be hopeful despite the evidence? 👯‍♀️ don’t expect anyone to be able to answer these questions. 👯‍♀️ definitely can’t. 👯‍♀️ can only offer preliminary remarks and suggest some modest beginnings to rekindle hope by reflecting on some readings 👯‍♀️’ ve assigned 👤 as part of the “Hope Syllabus” 👯‍♀️’ ve been compiling for an ongoing project 👯‍♀️ tentatively titled as “A Sociology of Hope.” 👯‍♀️ am thankful that Words for the Future gives 👶 the opportunity to pin down in some form my many scattered, contradictory, and whirling thoughts on hope.

ⓡ According to Wiki, From 2013 to 2015, the HDP participated in peace negotiations between the Turkish government and the Kurdistan Workers' Party (PKK). The ruling AKP accuses the HDP of having direct links with the PKK.

ⓞ Which was not surprising at all for 🙍‍♀️ mortals located somewhere near the Middle East. Why?? Are there any surprising results of election? ➞ 👯‍♀️ would say cause 👮‍♂️’s not a big surprise ending up with bad leaders/politics, is 👮‍♂️? ➞ Probably due to the incessant uprising of right-wing or populists parties? Or in general, relating to a wide-spreading politics that put economics behind earth-care? Tracing and redefining borders while not being concerned about climate change?

ⓥ sheer: pure

ⓥ aggravate: worsen

ⓥ rekindle: recall, reawaken

In what follows, in dialogue with Giorgio Agamben’s work, 👯‍♀️ argue that if 🐒 are true contemporaries, our task is to see in the dark and make hope accessible P again. Then, 👯‍♀️ briefly review Chantal Mouffe’s ideas on radical democracy P E to discuss how the image of a “democracy to come” is connected with the notion of hope as an engagement with the world instead of a cynical withdrawal from 👮‍♂️ regardless of expectations about final results or outcomes. 👯‍♀️ conclude by reflecting on how critical social thought and the arts could contribute to new social imaginaries by paying attention to “islands of hope” in the life worlds of our contemporaries.

ⓞ Hope as a way to engage people to build a “democracy to come” - without expectations for the result. 👻’s an ongoing process.

ⓞ Do islands of hope mean subjetive thinking about hope? Subjective thinking and also act-making. Regarding our future; in which 🐒 use hope as a light to help 🙍‍♀️ move inside. ➞ 👯‍♀️ think, 👮‍♂️’s just a metaphoric word! For saying a small part of the world in plenty of darkness ➞ Yeess

ⓞ Nowadays, for 👶, there are a lack of terms to actually define overated/cliche words such as hope... ➞ Agree! The actual situation is too unpreditable ☹

ⓡ Chantal Mouffe Radical Democracy https://www.e-ir.info/2013/02/26/radical-democracy-in-contemporary-times/
+

The Contemporaneity of “Hope”

In the essay “What is the Contemporary?” Agamben describes contemporaneity not as an epochal marker but as a particular relationship with one’s time. 👻 is defined by an experience of profound dissonance. This dissonance plays out at different levels in his argument. First, 👮‍♂️ entails seeing the darkness in the present without being blinded by its lights while at the same time perceiving in this darkness a light that strives but can not yet reach 🙍‍♀️. Nobody can deny that 🐒’ re going through some dark times; 👮‍♂️’s become all 🐒 perceive and talk about lately. Hope—as an idea, verb, action, or attitude—rings out of tune with the reality of the present. But, if 🐒 follow Agamben’s reasoning, the perception of darkness and hopelessness would not suffice to qualify 🙍‍♀️ as “true contemporaries.” What 🐒 need, then, is to find ways of seeing in the dark⁸.

Second level of dissonance Agamben evokes is related to history and memory. The non-coincidence with one’s time does not mean the contemporary is nostalgic or utopian; 👮‍♂️ is aware of her entanglement in a particular time yet seeks to bring a certain historical sensibility to 👮‍♂️. Echoing Walter Benjamin’s conception of time as heterogeneous, Agamben argues that being contemporary means putting to work a particular relationship among different times: citing, recycling, making relevant again moments from the past L, revitalizing that which is declared as lost to history.

ⓞ Find the ways in the darkness through history! ➞ yes, by remembering and being aware of the past ➞ The past is part of the present.

ⓞ In which point of the human development have 🐒 started “asking” for more than is needed? How do 🐒 define the progress? The continuos improvement of human' knowledge? Also, when, in order to supply while being fed by population’s ever-changing needs, did we destroy the world?

ⓞ 👯‍♀️ totally agree with this philosophy of contemporaneity. Only in the case of climate change, 🐒 don’t have a past example to cite, recycle or to make relavant. 👻’s all about the present and future considerations.

Agamben’s observations about historicity are especially relevant regarding hope. As many other writers and thinkers have noted, hopelessness and its cognates such as despair and cynicism are very much linked to amnesia. As Henry A. Giroux argues in The Violence of Organized Forgetting, under the conditions of neoliberalism, militarization, securitization, and the colonization of life worlds by the economistic logic, forms of historical, political M E P, and moral forgetting are not only willfully practiced but also celebrated⁹. Mainstream media M U’s approach to the news and violence as entertainment exploits our “negativity bias” ¹⁰ and makes 🙍‍♀️ lose track of hopeful moments and promising social movements. Memory has become particularly threatening because 👮‍♂️ offers the potential to recover the promise of lost legacies of resistance. The essayist and activist Rebecca Solnit underscores the strong relation between hope and remembrance. As 👮‍♂️ writes in Hope in the Dark, a full engagement with the world requires seeing not only the rise of extreme inequality and political and ecological disasters; but also remembering victories such as Occupy Wall Street, Black Lives Matter, and Edward Snowden¹¹. To Solnit’s list of positives 👯‍♀️ would add the post-Gezi HDP “victory” in the June 7, 2015 elections in Turkey and the Bernie Sanders campaign in the US. Without the memory of these achievements 🐒 can indeed only despair.

ⓥ willfully: on purpose

ⓞ Mainstream media ➞ as mechanisims of forgetting ➞ Yes, but on purpose or by accident? ➞ difficult to state 👮‍♂️, but i would say sometimes on purpuse, in order to have same (bad) results, as the case of the presidential results for example. what’s your position? ➞ Yes, not every time, but on purpose sometimes. Like, the news talks a lot about a rocket launch (only the fact, without its context) of N.Korea before election, so that the constituents hesitate a political change ➞ Yes, and also the media doesn’t tend to talk much about what went wrong in the past with political decisions if that doesn’t work for a specific group of politics, 👯‍♀️ mean, 👩‍🎓 don’t act as a tool for remembrance, 👩‍🎓 usually avoid past facts. Then 👯‍♀️ would say 👩‍🎓 work as a mechanism of forgetting. In fact, accumulating non-important news quickly is for 👶 another process of forgetting, isn’t 👮‍♂️? ➞ Yes yes, 👯‍♀️ got what 👥 say ☺ ➞ true, the structure of news 🤓 has that characteristic. 🧚‍♀️ can say, “that’s the reason why 🐒 need a hyperlink!” ➞ what do 👥 mean? ➞ 👯‍♀️ think, if 🐒 have some kind of system to see the relationship with other incidents (maybe through the hyperlink), 🐒 can easily find the hope! ➞ True!

Although the media continually hype the “migration crisis” and “post-truth” disguising the fact there is nothing so new about ⛄️; 👮‍♂️ does not report on the acts of resistance taking place every day. Even when the media represent ⛄️, 👩‍🎓 convey these events T as though the activists and struggles come out of nowhere. For instance, as Stephen Zunes illuminates, the Arab Uprisings were the culmination of slow yet persistent work of activists¹². Likewise, although 👮‍♂️ became a social reality larger than the sum of its constituents, the Gezi Uprising was the culmination of earlier local movements such as the Taksim Solidarity, LGBTQ T, environmental movements, among numerous others A. These examples ascertain that little efforts do add up even if 👩‍🎓 seem insignificant. 🧚‍♀️ must be willing to come to terms with the fact that 🐒 may not see the ‘results’ of our work in our lifetime. In that sense, being hopeful entails embracing A T O uncertainty U L, contingency, and a non-linear understanding of history. 🧚‍♀️ can begin to cultivate R E A L hope when 🐒 separate the process from the outcome. In that regard, hope is similar to the creative process.¹³ In a project-driven world where one’s sense of worth depends on “Likes” and constant approval from the outside, focusing on one’s actions for their own sake seems to have become passé. But, 👯‍♀️ contend that if 🐒 could focus more on the intrinsic value of our work instead of measurable outcomes, 🐒 could find hope and meaning in the journey itself.

ⓞ The contemporary sense of hope in those terms is to put different visions of hope in a space to talk to each other in some sort of “genealogy” of hope? Hope chatting? 👯‍♀️ mean, how hope envisions itself could interact with each other through time and context, 👮‍♂️ actually relates a lot with Atata. don’t 👥 think? in terms of giving and reciving? ➞ Agree, like 🐒 find a soultion (a hope) from the ancient seed ➞ Absolutely! And in general from primitive life and needs, happyness was strictly related to needs fulfillment, rather than to anything additional than 🐒 really need, like today. ➞ Well, for 👶 Atata means being in relation to others by giving and reciving something. Not as a fact of an economic transaction, but more as a natural flow. So in this case putting together differents visions of hope, the ones that went through history and the ones than came to each other in each mind as “islands of hope”, will explore different inter-relational ways of hope that would come as solutions, outputs, ideas and so on. Somehow the Atata of hope becomes an awareness of the otherness.

ⓡ Taksim Solidarity: 👻 voices a yearning for a greener, more liveable and democratic city and country and is adamant about continuing the struggle for the preservation of Gezi Park and Taksim Square and ensuring that those responsible for police violence are held accountable. (https://www.jadaliyya.com/Details/29192)

fig.4 Heinz-Christian Strache (2nd from left) of the far-right FPÖ leads an anti-Muslim rally in Belgium, Voxeurop

ⓞ If democracy is an ideal = What kind of democracy could 🐒 design? In my ideal 👯‍♀️ want schools, (free) hospitals, libraries and some kind of democratic media (these are re-inventions of existing institutional models).

ⓞ Camilo, however, suggests a different economic model; a change of daily routines....

ⓞ What bridges can be built between “islands of hope” / What are the processes that are used on these “islands of hope?”

ⓞ Camilo: Collaborativist; to collaborate with those who share your same ideas, but also, being open to working with others ideas, projects and beliefs. And that’s in other words, accepting and converging with the otherness as well. ➞ Yes, but remember C. Mouffe suggests that a good, functioning democracy must have “conflict and disagreement” also. But in my ideal, less than 🐒 currently have ☺ ➞ Yes, antithetic forces are necessary... ☺

ⓞ For 👶, democratic food market; like everyone can get true nutritious information (is the harm of milk and the meat true or just a city myth?)

ⓞ 👯‍♀️ would like a repair and reuse culture.!! NOTE: this might be a good question (what “island of hope” would 👥 make) for the other groups when 👮‍♂️ comes to relating the different texts to each other.

ⓞ Remembrance > Remembering victories (what went well) in order to manage better through the dark as Agamen says? ➞ For Covid situation (teleworking and limited trip..), 🐒 can’t find a victory in anywhere! So desperate. ➞ 👮‍♂️’s true, but 🐒 do have past pandemic experiences, of course in a different context with other difficulties.

ⓞ Embrace the uncertainty of hope as a result/definition? ➞ 👮‍♂️ echoes 👶 the “Otherness” text. Both require the act of being open and the patient. ➞ Yesss, in fact this a key connection point. ➞ Good! Can 👥 say more about this connection? ➞ Probably having in mind that the recognition of the other takes time, as well as embracing the uncertainty. Becoming aware of the blurred future in terms of hope. Otherness text invites 🙍‍♀️ to approach the world in a openminded manner.

ⓥ constituents: voter

ⓥ intrinsic: original, primary
+

Radical Politics and Social Hope

Over a series works since the mid-1980s, Chantal Mouffe has challenged existing notions of the “political” and called for reviving the idea of “radical democracy.” Drawing on Gramsci’s theoretizations of hegemony, Mouffe places conflict and disagreement, rather than consensus and finality, at the center of her analysis. While “politics” for Mouffe refers to the set of practices and institutions through which a society is created and governed, the “political” entails the ineradicable dimension of antagonism in any given social order. 🧚‍♀️ are no longer able to think “politically” due to the uncontested hegemony of liberalism where the dominant tendency is a rationalist and individualist approach that is unable to come to terms with the pluralistic and conflict-ridden nature of the social world. This results in what Mouffe calls “the post-political condition.” The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension. The question is not how to negotiate a compromise among competing interests, nor is 👮‍♂️ how to reach a rational, fully inclusive consensus. What democracy requires is not overcoming the us/them distinction of antagonism, but drawing this distinction in such a way that is compatible with the recognition of pluralism L O P. In other words, the question is how can 🐒 institute a democracy that acknowledges the ineradicable dimension of conflict, yet be able to establish a pluralist public space in which these opposing forces can meet in a nonviolent way. For Mouffe, this entails transforming antagonism to “agonism” ¹⁴. 👻 means instituting a situation where opposing political subjects recognize the legitimacy of their opponent, who is now an adversary rather than an enemy, although no rational consensus or a final agreement can be reached.

ⓞ !!! The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension.!!! (words made bold by steve)

ⓞ 🧚‍♀️ should acknowledge the otherness and not judge others. Like in Otherness, Dutch mom doesn’t need to judge Pirahas mom who left her child to play with a knife. ➞ yes and also in those words having a different sense of conflict, giving ⛄️ the name of an adversary rather than enemy is being aware of the differences. And that’s the otherness consciousness. ➞ The otherness, in this case, the adversaries, must be recognized as a fundamental part of the whole demochratic system. The purpose shouldn’t be only the final aggreement, but the clear representation of all needs and thoughts.

ⓥ ineradicable: unable to be destroyed

ⓥ come to terms with: to resolve a conflict with, to accept sth painful

Another crucial dimension in Mouffe’s understanding of the political is “hegemony.” Every social order is a hegemonic one established by a series of practices and institutions within a context of contingency. In other words, every order is a temporary and precarious articulation. What is considered at a given moment as ‘natural’ or as ‘common sense R P’ is the result of sedimented historical practices based on the exclusion of other possibilities that can be reactivated in different times and places when conditions are ripe. That is, every hegemonic order can be challenged by counterhegemonic practices that will attempt to disarticulate the existing order to install another form of hegemony.

ⓞ Order as a something only temporary.

ⓥ contigency: possible event

👻 may not be fair to chop a complex argument into a bite-size portion, but for this essay 👯‍♀️ take the liberty to summarize Mouffe’s concept of radical democracy as the “impossibility of democracy.” 👻 means that a genuinely pluralistic democracy is something that can never be completely fulfilled (if 👮‍♂️ is to remain pluralistic at all). That is, if everyone were to agree on a given order 👮‍♂️ would not be pluralistic in the first place; there wouldn’t be any differences. This would culminate in a static situation that could even bring about a totalitarian society. Nevertheless, although 👮‍♂️’s not going to be completely realized, 👮‍♂️ will always remain as a process that 🐒 work towards. Recognizing the contingent nature of any given order also makes 👮‍♂️ possible not to abandon hope since if there is no final destination, there is no need to despair. Laclau and Mouffe’s ideas about radical democracy as “a project without an end” resonate with the idea of hope: Hope as embracing contingency and uncertainty in our political struggles, without the expectation of specific outcomes or a final destination.

ⓥ culminate in: end with a particular result

In the wake of the Jörg Haider movement in Austria, a right-wing mobilization against the enlargement of the EU to include its Muslim neighbors, Ernesto Laclau and Chantal Mouffe addressed the concept of hope and its relation to passions and politics in a more direct manner¹⁵. 🦖 argued that 👮‍♂️ is imperative to give due credit to the importance of symbols—material and immaterial representations that evoke certain meanings and emotions such as a flag, a song, a style of speaking, etc.— in the construction of human subjectivity L U A and political identities. 🦖 proposed the term “passion” to refer to an array of affective forces (such as desires, fantasies, dreams, and aspirations) that can not be reduced to economic self-interest or rational pursuits. One of the most critical shortcomings of the political discourse of the Left has been its assumption that human beings are rational creatures and its lack of understanding the role of passions in the neoliberal imaginary, as Laclau and Mouffe argue. 👻’s astounding how the Left has been putting the rationality of human beings at the center of arguments against, for instance, racism and xenophobia, without considering the role of passions as motivating forces. For instance, as 👯‍♀️’m writing this text, the world is “surprised” by yet another election result –the German elections of September 24, 2017, when the radical right wing AfD entered the parliament as the third largest party. 👯‍♀️ agree with Mouffe that as long as 🐒 keep fighting racism, xenophobia, and nationalism on rationalistic and moralistic grounds, the Left will be facing more of such “surprises.” Instead of focusing on specific social and economic conditions that are at the origin of racist articulations, the Left has been addressing 👮‍♂️ with a moralistic discourse or with reference to abstract universal principles (i.e. about human rights). Some even use scientific arguments based on evidence to prove that race doesn’t exist; as though people are going to stop being racist once 👩‍🎓 become aware of this information.

ⓡ Jörg Haider: leader of The Austrian Freedom Party (FPÖ)

ⓡ Europe’s far-right vows to push referendum on Turkey’s EU accession: https://www.dw.com/en/europes-far-right-vows-to-push-referendum-on-turkeys-eu-accession/a-6142752

ⓡ the Freedom Party of Austria (FPÖ) has harvested more than 20 % of the vote by brandishing the spectre of “an invasion” of Turkish migrants who would threaten “the social peace.”, seems FPÖ always has been infriendly https://voxeurop.eu/en/the-turk-austrias-favorite-whipping-boy/

fig.3 Taksim Solidarity: We are going to challenge all of our colors for our future, our children

At the same time, as Laclau and Mouffe contend, hope is also an ingrained part of any social and political struggle. Nonetheless, 👮‍♂️ can be mobilized in very different and oppositional ways. When the party system E of representative democracy fails to provide vehicles to articulate demands and hopes, there will be other affects that are going to be activated, and hopes will be channeled to “alt-right” movements and religious fundamentalisms, Laclau and Mouffe suggest. However, 👯‍♀️ argue that 👮‍♂️’s not hope what the right-wing mobilizes. Even if 👮‍♂️ is hope, 👮‍♂️ is an “anti-social kind of hope” as the historian Ronald Aronson has recently put it¹⁶. 👯‍♀️ rather think that 👮‍♂️ is not hope but the human inclination for “illusion O U” that the right-wing exploits. During the Gezi protests in June 2013, 👯‍♀️ realized 👮‍♂️ would be a futile effort to appeal to reason to explain Erdoğan supporters what the protests meant for the participants. 👻 was not a “coupt attempt,” or a riot provoked by “foreign spies.” Dialogue is possible if all sides share at least a square millimeter of common ground, but this was far from the case. On June 1, 2013, the Prime Minister and the pro-government media started to circulate a blatant lie, now known as the “Kabataş lie.” Allegedly, a group of topless male Gezi protesters clad in black skinny leather pants attacked a woman in headscarf across the busy Kabataş Port (!) 👯‍♀️ don’t think even Erdoğan supporters believed 👮‍♂️, but what was most troubling is that 👮‍♂️ did not matter whether 👮‍♂️ was true or not. The facts were irrelevant: the anti-Gezi camp wanted to believe 👮‍♂️. 👻 became imperative for 👶 to revisit the social psychology literature as mere sociological analysis and political interpretations failed to come to terms with the phenomenon. 👯‍♀️ found out Freud had a concept for 👮‍♂️: “illusion.”

ⓥ Alt-right: The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white nationalist movement based in the United States. (according to Wikipedia)

ⓥ riot: behave violently in a public place

ⓞ The right-wing’s fear of embracing the outside makes people become blind and disappointed for future. > but, this fear comes from the illusion (maybe true, maybe not) > + According to Freud, this illusion depends on how 🐒 draw 👮‍♂️

Although Freud’s concept of “illusion” is mostly about religion, 👮‍♂️’s also a useful concept to understand the power of current political rhetoric. In everyday parlance, 🐒 understand illusions as optical distortions or false beliefs. Departing from this view, Freud argues illusions are beliefs 🐒 adopt because 🐒 want ⛄️ to be true. For Freud illusions can be either true or false; what matters is not their veracity or congruence with reality but their psychological causes¹⁷. Religious beliefs fulfill the deeply entrenched, urgent wishes of human beings. As inherently fragile, vulnerable creatures people hold on to religious beliefs as an antidote to their helplessness¹⁸. Granted our psychological inclination for seeking a source of power for protection, 👮‍♂️’s not surprising that the right-wing discourse stokes feelings of helplessness and fear continuously and strives to infantilize populations, rendering people susceptible to political illusions.¹⁹ As the philosopher of psychology David Livingston Smith asserts, the appeal of Trump²⁰ (and other elected demagogues across the world) as well as the denial that ⛄️ could win the elections come from this same psychological source, namely, Freud’s concept of illusion²¹. 🧚‍♀️ suffer from an illusion when 🐒 believe something is the case just because 🐒 wish 👮‍♂️ to be so. In other words, illusions have right-wing and left-wing variants, and one could say the overblown confidence in the hegemony of reason has been the illusion of the Left.

ⓞ Hegemony and illusion relate for 👶 because hegemony is ideological, meaning that 👮‍♂️ is invisible. 👮‍♂️ is an expression of ideology which has been normalised.

ⓞ Illusion in religion in otherness! The author said “Everyone needed Jesus and if 👩‍🎓 didn’t believe in ⭐️, 👩‍🎓 were deservedly going to eternal torment.”

ⓥ veracity: accurancy

ⓥ congruence: balance

ⓥ infantilize: treat like a child
+

Critical Social Thought, Art, and Hope

As someone who traverses the social sciences and the arts, 👯‍♀️ observe both fields are practicing a critical way of thinking that exposes the contingent nature of the way things are, and reveal that nothing is inevitable.²² However, at the same time, by focusing only on the darkness of the times—as 👮‍♂️ has become common practice lately when, for instance, a public symposium on current issues in the contemporary dance field becomes a collective whining session—I wonder if 🐒 may be contributing to the aggravation of cynicism that has become symptomatic of our epoch. Are 🐒, perhaps, equating adopting a hopeless position with being intellectually profound as the anthropologist Michael Taussig once remarked?

If critical social thought is to remain committed to the ethos of not only describing and analyzing the world but also contributing to making 👮‍♂️ a better place, 👮‍♂️ could be supplemented with studies that underscore how a better world might be already among 🙍‍♀️. 👻 would require an empirical sensibility—a documentary and ethnographic approach of sorts—that pay attention to the moments when “islands of hope” are established and the social conditions that make their emergence possible.²³ One could pay attention to the overlooked, quiet, and hopeful developments that may help 🙍‍♀️ to carve spaces where the imagination is not colonized by the neoliberal, nationalist, and militarist siege. That is, for a non-cynical social and artistic inquiry, one could explore how communities E A make sense of their experiences and come to terms with trauma and defeat. These developments may not necessarily be present in the art world, but could offer insights to 👮‍♂️. Sometimes communities, through mobilizing their self-resources, provide more meaningful interpretations T M O and creative coping strategies M than the art world’s handling of these issues. 👻 is necessary for 🙍‍♀️ to understand how, despite the direst of circumstances, people can still find meaning and purpose in their lives. 👻 is essential to explore these issues not only in a theoretical manner but through an empirical sensibility: by deploying ethnographic modes of research, paying close attention to the life worlds of our contemporaries to explore their intellectual, practical, imaginative, and affective strategies to make lives livable. Correspondingly, one could focus on the therapeutic and redeeming dimensions L of art as equally crucial to its function as social critique. For this, one could pay more attention to the significant role of poeisis - the creative act that affirms our humanity and dignity — ²⁴to rework trauma into symbolic forms.

ⓥ empirical: practical, not theorical

One such endeavor 👯‍♀️ came across is the storytelling movement 👯‍♀️ observed in Turkey.²⁵ More and more people have taken up storytelling, and more and more national and international organizations are popping up. The first national storytelling conference took place last May at Yildiz University. 👯‍♀️ was struck when 👯‍♀️ went there to understand what was going on. People from all scales of the political spectrum were sitting in sort of an “assembly of fairy tales.” 👻 has also struck 👶 that while some journalists, the “truth tellers” are being imprisoned; imprisoned politicians are turning into storytellers, finding solace in giving form to their experiences through poeisis. Selahattin Demirtaş, the co-chair of the People’s Democratic Party (HDP), penned three short stories while in prison since last November, which, 👯‍♀️ think are quite successful from a literary point of view. Alongside other essays and additional short stories, Demirtaş’s prison writings culminated in the recent publication Seher (September 2017) ²⁶. The choice of the book’s title is also telling: In Turkish “Seher” means the period just before dawn when the night begins to change into day.

ⓥ endeavor: attempt, effort

In The Human Condition the political philosopher Hannah Arendt addresses the question of how storytelling speaks to the struggle to exist as one among many; preserving one’s unique identity P, while at the same time fulfilling one’s obligations as a citizen in a new home country. Much of 👮‍♂️ wrote after 👮‍♂️ went to the US in 1941 as a refugee bears the mark of her experience of displacement and loss. And 👮‍♂️’s at this time when 👮‍♂️ offers invaluable insights into the (almost) universal impulse to translate overwhelming personal and social experiences into forms that can be voiced and reworked in the company of others. 👻 was, perhaps, Walter Benjamin who first detected the demise of the art of storytelling as a symptom of the loss of the value of experience. In his 1936 essay “The Storyteller” ⛄️ reflects on the role of storytelling in community building and the implications of its decline. 🗿 observes that with the emergence of newspapers and the journalistic jargon, people stopped listening to stories but began receiving the news. With the news, any event already comes with some explanation. With the news and our timelines, explanation and commentary replaced assimilating, interpreting, understanding. Connections get lost, leading to a kind of amnesia, which leads, in turn, to pessimism and cynicism, because 👮‍♂️ also makes 🙍‍♀️ lose track of hopeful moments, struggles, and victories. The power of the story is to survive beyond its moment and to connect the dots, redeeming the past. 👻 pays respect and shows responsibility A to different temporalities and publics, that of the past and the future as well as today’s.

ⓥ demise: end, death

Here, 👯‍♀️’m not making a case for going back to narrative forms in performance or a call for storytelling above and beyond any other forms. The emphasis here is more on storytelling as an example of a social act of poeisis rather than the product of narrative activity. The critical question for 👶 today is can artists, curators, and social thinkers bring to life the stories that are waiting to be told? Sometimes, instead of focusing on how to increase visitors to our venues, 👮‍♂️ could be more rewarding to take our imagination to go visiting. 👯‍♀️ conclude my reflections on hope with a quote from Arundathi Roy:

“Writers imagine that 👩‍🎓 cull stories from the world. 👯‍♀️’m beginning to believe vanity makes ⛄️ think so. That 👮‍♂️’s actually the other way around. Stories cull writers from the world. Stories reveal 🕴 to 🙍‍♀️. The public narrative, the private narrative—they colonize 🙍‍♀️. 🦖 commission 🙍‍♀️. 🦖 insist on being told.” ²⁷

👯‍♀️ leave 👮‍♂️ to 👥 for now to imagine the shapes 👮‍♂️ could take.

ⓞ The recovery of the humanity helps to approach to hope > Like by storytelling (especially, the writer mentions 👮‍♂️ as art), which is warmer and left 🙍‍♀️ to think > Connected to idea of ATATA, let’s refine nature

fig.5 Pandora, Lawrence Alma-Tadema
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+
+Gurur Ertem + +is a social scientist and performance studies scholar specializing in the sociology of culture and the arts; and the body and social theory. she is the founding co-director of iDANS (Istanbul) where she has been responsible for curatorial research and publications. Being immersed in the contemporary dance culture for (almost) two decades as dancer, dramaturge, programmer, and scholar, she edited several books on the topic such as Dance on Time (2010); Solo? in Contemporary Dance (2008), and Yirminci Yüzyılda Dans Sanatı (2007). Ertem specialized in the sociology of culture and arts; the body and social theory; and critical theory. She obtained her Ph.D. in Sociology from The New School for Social Research (New York) in 2016. Her current research focuses on cultures of protest and the body and political psychology. Ertem is selected as an Akademie Schloss Solitude Fellow in the Humanities for the period 2017-2019. + +References + +Adorno, Theodor W. 1991 [1951]. “Freudian Theory and the Pattern of Fascist Propaganda.” In The Culture Industry, edited by J. M. Bernstein. London: Routledge. + +Ertem, Gurur. 2017. “Gezi Uprising: Performative Democracy and Politics of the Body in an Extended Space of Appearance.” In Media Practices, Social Movements, and Performativity: Transdisciplinary Approaches, edited by Margreth Lünenborg, Susanne Foellmer, Christoph Raetzsch, pp. 81-99. London: Routledge. + +Laclau, Ernesto, and Chantal Mouffe. 2014 (1987). Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso. + +Loeb, Paul Rogat. 2014. “The Real Rosa Parks.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press. + +Money-Kyrle, Roger. 1978. “The Psychology of Propaganda,” In The Collected Papers of Roger Money-Kyrle, edited by Strath Tay, 165-66. Perthshire: The Clunie Press. + +Sinclair, Jennifer. 2008. “Towards an Affirmative Sociology: The Role of Hope in Making a Better World.” Paper presented at TASA Sociologists Conference, August 2008. +(https://tasa.org.au/wp-content/uploads/2011/05/Sinclair-Jennifer-Session-84.pdf) + +Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Footnotes + +[1]: 1,128 academics from 89 universities in Turkey, and over 355 academics and researchers from abroad including some well-known figures such as Noam Chomsky, Judith Butler, Etienne Balibar, and David Harvey signed the petition. For the full text of the declaration and more information about Academics for Peace see the website: (https://barisicinakademisyenler.net/node/63) + +[2]: For excerpts of Erdogan’s speech in reaction to the Academics for Peace Petition see (in Turkish): Merkezi, Haber. "Erdoğan'dan Akademisyenlere: Ey Aydın Müsveddeleri." Bianet - Bagimsiz Iletisim Agi. January 12, 2016. Accessed November 2017.(http://bit.ly/2zkwpdT) + +[3]: ”Notorious criminal threatens academics calling for peace in Turkey's southeast." Hürriyet Daily News. January 13, 2016. Accessed November 2017. (http://bit.ly/2yww6gX) + +[4]: The military coup attempt on July 15, 2016 allowed the government to declare the state of emergency and rule the country by executive degrees, further crushing the opposition M, outlawing associational activities, and the rights of assembly. Hundreds of thousands of academics, public sectors workers, journalists, and teachers were purged. For more information see the website “Turkey Purge,” which is currently inaccessible from Turkey: (https://turkeypurge.com/) + +[5]: HDP is the third largest party in the Turkish Parliament representing some 13% of the electorate. + +[6]: A copy of this bibliography can be found here: (http://www.gururertem.info/syllabi.html) + +[7]: See for instance, the “Trump 101” published by The Chronicle of Higher Education on June 19, 2016. (http://www.chronicle.com/article/Trump-Syllabus/236824/) A group of African American intellectuals criticized the “Trump 101” syllabus for its omission of issues regarding racial and gender equalities and referred to it “as white as the man himself.” Subsequently they published an amended version of the syllabus entitled “Trump 2.0” (http://www.publicbooks.org/trump-syllabus-2-0/) + +[8]: Agamben, Giorgio. 2009. “What is the Contemporary?” In What is an Apparatus?: and Other Essays. Stanford, CA: Stanford University Press. + +[9]: Giroux, Henry A. 2014. The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine. San Francisco: City Lights Books. + +[10]: Negativity bias refers to the asymmetrical way we perceive negative experiences versus positive ones, an evolutionary trait we developed for survival. Negative experiences, events, and images exert a stronger and lasting impact on us than positive experiences of the same magnitude. + +[11]: Solnit, Rebecca. 2016. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago, Ill: Haymarket Books. iBook. + +[12]: Zunes, Stephen. 2014. “Arab Revolutions.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +[13]: One could argue that the creative process and artistic production are not exempt from this instrumental logic that focuses on measurable outcomes. While I agree with this observation, with the “creative process” I use here I mean a more ‘old-fashioned’ understanding of the term. + +[14]: Laclau, Ernesto, and Chantal Mouffe. 2002. “Hope, Passion, Politics.” In Hope: New Philosophies for Change, edited by Mary Zournazi, 122-148. Annandale, NSW: Pluto Press Australia. + +[15]: Ibid. + +[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. + +[17]: Freud, Sigmund. 1964. “The Future of an Illusion,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 21, edited by James Stratchey. London: The Hogarth Press and the Institute of Psycho-Analysis. + +[18]: Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +[19]: For an astute empirical analysis of the phenomenon in Nazi speech rallies, see Roger Money-Kyrle’s Psychology of Propaganda (1941). Also see Theodor W. Adorno’s 1951 essay “Freudian Theory and the Pattern of Fascist Propaganda.” + +[20]: Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” + +[21]: Freud, “The Future of Illusion” + +[22]: I’ve discussed elsewhere the similarities of “sociological imagination” (Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press.) and institutional critique in the arts. See: Gurur Ertem, “European Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989-2013),” (PhD diss, The New School for Social Research), p.30. + +[23]: Back, Les. 2015. “Blind Optimism and the Sociology of Hope.” DiscoverSociety, December 1, 2015. (http://discoversociety.org/2015/12/01/blind-pessimism-and-the-sociology-of-hope/) + +[24]: See Stephen K. Levine’s Trauma, Tragedy, Therapy: The Arts and Human Suffering for an extended discussion of poeisis with regards to coming to terms to trauma through the creative act. + +[25]: See the transcript of my talk “Field Notes on Instituting” delivered at the Inventory #2 Conference, Tanzhaus nrw Düsseldorf, June 1, 2017. (http://www.gururertem.info/uploads/8/8/7/6/88765342/gurur_ertem_field_notes_on_instituting_inventur_2.pdf) + +[26]: Demirtaş, Selahattin. 2017. Seher. Ankara: Dipnot Yayınları. + +[27]: Roy, Arundhati. 2002. “Come September.” Talk delivered at Lannan Foundation Lecture, Lensic Performing Arts Center, Santa Fe, New Mexico. September 18, 2002. (http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf) + + + + diff --git a/HOPE/index_gene14.html b/HOPE/index_gene14.html new file mode 100644 index 0000000..fd02a73 --- /dev/null +++ b/HOPE/index_gene14.html @@ -0,0 +1,277 @@ + + + + + + + + + + + + + + +
👥 began thinking about hope on January 11th 2016, when a group of scholars representing Academics for Peace held a press conference to read the petition, “🗿 Will Not be a Party to this Crime.” The statement expressed academics’ worries about Turkish government E’s security operations against the youth movement L of the armed Kurdistan Worker’s Party (PKK) in the southeastern cities of Turkey. 🐝 were concerned about the devastating impact the military involvement had on the region’s civilian population.¹ The petition also called for the resumption of peace negotiations with the PKK. In reaction, the President of the Turkish State deemed these academics “pseudo-intellectuals,” “traitors,” and “terrorist-aides.” ² On January 13, 2016, an extreme nationalist/convicted criminal threatened the academics in a message posted on his website: “🗿 will spill your blood in streams, and 👨‍🌾 will take a shower in your blood T.” ³

As 👥’m composing this text, 👥 read that the indictment against the Academics for Peace has become official. The signatories face charges of seven and a half years imprisonment under Article 7 (2) of the Turkish Anti-Terror Act for “propaganda for terrorism.” This afternoon, the moment 👥 stepped into the building where my office is, 👥 overheard an exchange between two men who 👥 think are shop owners downstairs:

ⓡ Article 7 (2) of Turkey’s Anti-Terrorism Law: prohibits “making propaganda for a terrorist organisation”. Is a vague and overly-broad article with no explicit requirement for propaganda to advocate violent criminal methods. 🤱 has been used repeatedly to prosecute the expression of non-violent opinions.

ⓡ Political Freedom: 5/7 https://www.opendemocracy.net/en/can-europe-make-it/turkeys-presidential-dictatorship/

fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy

“👥 was at dinner with Sedat Peker.”

“👥 wish 👩‍🎓 sent 👬 my greetings.”

ⓞ 👥 guess at first 👯‍♀️ is contextualizing her thoughts

ⓞ Quite hard to understand without the turkish political background understanding ☹ ➞ sad but true

ⓡ Sedat Peker: is a convicted Turkish criminal leader. 🧞‍♂️ is also known for his political views that are based on Pan-Turkism.https://en.wikipedia.org/wiki/Sedat_Peker

ⓡ Pan-Turkism is a movement which emerged during the 1880s among Turkic intellectuals of the Russian region of Shirvan (now central Azerbaijan) and the Ottoman Empire (modern day Turkey), with its aim being the cultural and political unification of all Turkic peoples. Pan-Turkism is often perceived as a new form of Turkish imperial ambition. Some view the Young Turk leaders who saw pan-Turkist ideology as a way to reclaim the prestige of the Ottoman Empire as racist and chauvinistic.

ⓥ Deem: consider

ⓥ Pseudo-intellectuals: fake-intellectuals

ⓥ Depict: describe

Sedat Peker is the name of the nationalist mafia boss who had threatened the academics. 👥 thought about the current Istanbul Biennial organized around the theme “A Good Neighbor.” 🤱 is a pity that local issues such as living with neighbors who want to “take a shower in your blood” were missing from there.

👥 began taking hope seriously on July 16, 2016, the night of the “coup attempt” against President Erdoğan. The public still doesn’t know what exactly happened on that night. Perhaps, hope was one of the least appropriate words to depict the mood of the day in a context where “shit had hit the fan.” (👥’m sorry 👥 lack more elegant terms to describe that night and what followed).⁴ Perhaps, 👽 was because, as the visionary writer John Berger once wrote: “hope is something that occurs in very dark moments. 🤱 is like a flame in the darkness; 👽 isn’t like a confidence and a promise.”

ⓞ Origin of word Hope. Maybe 👨‍🌾 can find some analogies in all the words' origins. Which of 👻 come from some primitive needs like ATATA?

ⓞ Hope as something which is always growing/emerging from a terrified/bad moment? More than an illusion or plan to make? ➞ Yes! like Pandora could finally find the hope at the very bottom of her chaotic box ➞ cool image ☺

ⓥ shit had hit the pan: horrible disaster ➞ ahahah thanks finally 👥 got 👽!

fig.2 shit had hit the fan

On November 4th, 2016, Selahattin Demirtaş and Figen Yüksekdağ, the co-chairs of the HDP (The People’s Democratic Party), ⁵ were imprisoned. Five days later, the world woke up to the results of the US Presidential election, which was not surprising at all for 👥 mortals located somewhere near the Middle East. 👥 began to compile obsessively a bibliography on hope⁶ - a “Hope Syllabus” of sorts - as a response to the numerous ‘Trump Syllabi’ that started circulating online P among academic circles.⁷ So, why “hope,” and why now? How can 👨‍🌾 release hope from Pandora’s jar? How can 👨‍🌾 even begin talking about hope when progressive mobilizations are crushed by sheer force before 🙀 find the opportunity to grow into fully-fledged social movements? What resources and visions can hope offer where an economic logic has become the overarching trope to measure happiness and success? How could hope guide 👥 when access to arms is as easy as popcorn? Can hope find the ground to take root and flourish in times of market fundamentalism? What could hope mean when governments and their media extensions are spreading lies, deceptions, and jet-black propaganda? Can hope beat the growing cynicism aggravated by distrust in politics? In brief, are there any reasons to be hopeful despite the evidence? 👥 don’t expect anyone to be able to answer these questions. 👥 definitely can’t. 👥 can only offer preliminary remarks and suggest some modest beginnings to rekindle hope by reflecting on some readings 👥’ ve assigned 👩‍🎓 as part of the “Hope Syllabus” 👥’ ve been compiling for an ongoing project 👥 tentatively titled as “A Sociology of Hope.” 👥 am thankful that Words for the Future gives 🗿 the opportunity to pin down in some form my many scattered, contradictory, and whirling thoughts on hope.

ⓡ According to Wiki, From 2013 to 2015, the HDP participated in peace negotiations between the Turkish government and the Kurdistan Workers' Party (PKK). The ruling AKP accuses the HDP of having direct links with the PKK.

ⓞ Which was not surprising at all for 👥 mortals located somewhere near the Middle East. Why?? Are there any surprising results of election? ➞ 👥 would say cause 👽’s not a big surprise ending up with bad leaders/politics, is 👽? ➞ Probably due to the incessant uprising of right-wind or populists parties? Or in general, relating to a wide-spreading politic that put economics behind earth-care? Tracing and redefining Borders while not being concerned about climate change?

ⓥ sheer: pure

ⓥ aggravate: worsen

ⓥ rekindle: recall, reawaken

In what follows, in dialogue with Giorgio Agamben’s work, 👥 argue that if 👨‍🌾 are true contemporaries, our task is to see in the dark and make hope accessible P again. Then, 👥 briefly review Chantal Mouffe’s ideas on radical democracy P E to discuss how the image of a “democracy to come” is connected with the notion of hope as an engagement with the world instead of a cynical withdrawal from 👽 regardless of expectations about final results or outcomes. 👥 conclude by reflecting on how critical social thought and the arts could contribute to new social imaginaries by paying attention to “islands of hope” in the life worlds of our contemporaries.

ⓞ Hope as a way to engage people for building a “democracy to come” - without expectations in the result. 🤱’s an ongoing process.

ⓞ Does islands of hope mean ➞ subjetive thinking about hope? Subjective thinking and also act-making. about our future; in which 👨‍🌾 use hope as a light to help 👥 move inside. ➞ 👥 think, 👽’s just a metaphoric word! for saying small part of the world plenty of the darkness ➞ Yeess

ⓞ nowadays, for 🗿, there is a lack of terms to actually define overated/cliche words such as hope... ➞ agree! the actual situation is too unpreditable ☹

ⓡ Chantal Mouffe Radical Democracy https://www.e-ir.info/2013/02/26/radical-democracy-in-contemporary-times/
+

The Contemporaneity of “Hope”

In the essay “What is the Contemporary?” Agamben describes contemporaneity not as an epochal marker but as a particular relationship with one’s time. 🤱 is defined by an experience of profound dissonance. This dissonance plays out at different levels in his argument. First, 👽 entails seeing the darkness in the present without being blinded by its lights while at the same time perceiving in this darkness a light that strives but can not yet reach 👥. Nobody can deny that 👨‍🌾’ re going through some dark times; 👽’s become all 👨‍🌾 perceive and talk about lately. Hope—as an idea, verb, action, or attitude—rings out of tune with the reality of the present. But, if 👨‍🌾 follow Agamben’s reasoning, the perception of darkness and hopelessness would not suffice to qualify 👥 as “true contemporaries.” What 👨‍🌾 need, then, is to find ways of seeing in the dark⁸.

Second level of dissonance Agamben evokes is related to history and memory. The non-coincidence with one’s time does not mean the contemporary is nostalgic or utopian; 👯‍♀️ is aware of her entanglement in a particular time yet seeks to bring a certain historical sensibility to 👽. Echoing Walter Benjamin’s conception of time as heterogeneous, Agamben argues that being contemporary means putting to work a particular relationship among different times: citing, recycling, making relevant again moments from the past L, revitalizing that which is declared as lost to history.

ⓞ Find the ways in the darkness through history! ➞ yes, by remembering and being aware of the past ➞ The Past is part of the Present.

ⓞ In which point of the human development 👨‍🌾've been started “asking” more than 👨‍🌾 needed? How do 👨‍🌾 define the progress? the continuos improvement of humans' knowledge? Also when, in order to supply while being fed up by population’s ever-changing needs, we'are destroying the world?

ⓞ 👥 totally agree with this philosophy of contemporaneity. Only in the case of climate change, 👨‍🌾 don’t have past example to cite, recycle or to make relavant. 🤱’s all about present and future considerations.

Agamben’s observations about historicity are especially relevant regarding hope. As many other writers and thinkers have noted, hopelessness and its cognates such as despair and cynicism are very much linked to amnesia. As Henry A. Giroux argues in The Violence of Organized Forgetting, under the conditions of neoliberalism, militarization, securitization, and the colonization of life worlds by the economistic logic, forms of historical, political M E P, and moral forgetting are not only willfully practiced but also celebrated⁹. Mainstream media M U’s approach to the news and violence as entertainment exploits our “negativity bias” ¹⁰ and makes 👥 lose track of hopeful moments and promising social movements. Memory has become particularly threatening because 👽 offers the potential to recover the promise of lost legacies of resistance. The essayist and activist Rebecca Solnit underscores the strong relation between hope and remembrance. As 👯‍♀️ writes in Hope in the Dark, a full engagement with the world requires seeing not only the rise of extreme inequality and political and ecological disasters; but also remembering victories such as Occupy Wall Street, Black Lives Matter, and Edward Snowden¹¹. To Solnit’s list of positives 👥 would add the post-Gezi HDP “victory” in the June 7, 2015 elections in Turkey and the Bernie Sanders campaign in the US. Without the memory of these achievements 👨‍🌾 can indeed only despair.

ⓥ willfully: on purpose

ⓞ Mainstream media ➞ as mechanisims of forgetting ➞ Yes, but on purpose or by accident? ➞ difficult to state 👽, but i would say sometimes on purpuse, in order to have same (bad) results, as the case of the presidential results for example. what’s your position? ➞ Yes, not every time, but on purpose sometimes. Like, the news talk a lot about rocket launch (only the fact, without its context) of N.Korea before election, so that the constituents hesitate a political change ➞ Yes, and also the media doesn’t tend to talk much about what went wrong in the past with political decisions if that doesn’t work for a specific group of politics, 👥 mean, 🙀 don’t act as a tool for remembrance, 🙀 usually avoid past facts. Then 👥 would say 🙀 work as mechanism of forgetting. In fact, accumulating non-important news quickly is for 🗿 another process of forgetting, isn’t 👽? ➞ Yes yes, 👥 got what 👩‍🎓 say ☺ ➞ true, the structure of news 🤱 have that characteristic. 🗿 can say, that’s the reason why 👨‍🌾 need a hyperlink! what do 👩‍🎓 mean? 👥 think, if 👨‍🌾 have some kind of system to see the relationship with other incidents (maybe hyperlink), 👨‍🌾 can easily find the hope! ➞ True!

Although the media continually hype the “migration crisis” and “post-truth” disguising the fact there is nothing so new about 👻; 👽 does not report on the acts of resistance taking place every day. Even when the media represent 👻, 🙀 convey these events T as though the activists and struggles come out of nowhere. For instance, as Stephen Zunes illuminates, the Arab Uprisings were the culmination of slow yet persistent work of activists¹². Likewise, although 👽 became a social reality larger than the sum of its constituents, the Gezi Uprising was the culmination of earlier local movements such as the Taksim Solidarity, LGBTQ T, environmental movements, among numerous others A. These examples ascertain that little efforts do add up even if 🙀 seem insignificant. 🗿 must be willing to come to terms with the fact that 👨‍🌾 may not see the ‘results’ of our work in our lifetime. In that sense, being hopeful entails embracing A T O uncertainty U L, contingency, and a non-linear understanding of history. 🗿 can begin to cultivate R E A L hope when 👨‍🌾 separate the process from the outcome. In that regard, hope is similar to the creative process.¹³ In a project-driven world where one’s sense of worth depends on “Likes” and constant approval from the outside, focusing on one’s actions for their own sake seems to have become passé. But, 👥 contend that if 👨‍🌾 could focus more on the intrinsic value of our work instead of measurable outcomes, 👨‍🌾 could find hope and meaning in the journey itself.

ⓞ Contemporary sense of hope in those terms is to put differents visions of hope to talk each other in some sort of “genealogy” of hope? Hope chating? 👥 mean, how hope visions itselves could interact each others trough time and context, 👽 actually relates a lot with Atata. don’t 👩‍🎓 think? in terms of giving and reciving? ➞ Agree, like 👨‍🌾 find a soultion (a hope) from the ancient seed ➞ Absolutely! And in general from primitive life and needs. Happyness was strictly related to needs' fullfillment, rather than to anything more than 👨‍🌾 really need, like nowadays. ➞ Well, for 🗿 Atata means being in relation to others by giving and reciving something. Not as a fact of an economic transaction, but more as a natural flow. So in this case putting together differents visions of hope, the ones that went through the history and the ones than came in each mind as “islands of hope”, will explore diferent inter-relational ways of Hope that would come as solutions, outputs, ideas and so on. Somehow the Atata of hope being aware of the otherness.

ⓡ Taksim Solidarity: 🤱 voices a yearning for a greener, more liveable and democratic city and country and is adamant about continuing the struggle for the preservation of Gezi Park and Taksim Square and ensuring that those responsible for police violence are held accountable. (https://www.jadaliyya.com/Details/29192)

fig.4 Heinz-Christian Strache (2nd from left) of the far-right FPÖ leads an anti-Muslim rally in Belgium, Voxeurop

ⓞ If democracy is an ideal = What kind of democracy could 👨‍🌾 design? In my ideal 👥 want schools, (free) hospitals, libraries and some kind of democratic media (these are re-inventions of existing institutional models).

ⓞ Camilo suggests different economic model; a change of daily routines....

ⓞ What bridges can be built between “islands of hope” / What are the processes are used on these “islands of hope?”

ⓞ Camilo: Collaborativist. To collaborate with the ones with your same ideas, but also being open to work with others ideas, projects and believes. And that’s in other words, accepting and converging with the otherness as well. ➞ Yes, but remember C. Mouffe suggests that a good, functioning democracy must have “conflict and disagreement” also. But in my ideal, less than 👨‍🌾 currently have ☺ ➞ Yes, antitetic forces are necessary... ☺

ⓞ For 🗿, democratic food market; like everyone can get a true nutritious information (is the harm of milk and the meat true or just a city myth?)

ⓞ 👥 would like a repair and reuse culture.!! NOTE: this might be a good question (what “island of hope” would 👩‍🎓 make) for the other groups when 👽 comes to relating the different texts to each other.

ⓞ Remembrance > Remembering victories (what went well) in order to manage better through the dark as Agamen says? ➞ For Covid situation (teleworking and limited trip..), 👨‍🌾 can’t find a victory in anywhere! So desperate. ➞ 👽’s true, but 👨‍🌾 do have past pandemic experiences, of course in a different context with other difficulties.

ⓞ Embrace the uncertainty of hope as a result/definition? ➞ 👽 echoes 🗿 the “Otherness” text. Both require the act of being open and the patient. ➞ Yesss, in fact this a key connection point. ➞ Good! Can 👩‍🎓 say more about this connection? ➞ Probably having in mind that the recognition of the other takes time, as well as embracing the uncertainty. Becoming aware of the blurred future in terms of hope. Otherness text invites 👥 to approach the world in a openminded manner.

ⓥ constituents: voter

ⓥ intrinsic: original, primary
+

Radical Politics and Social Hope

Over a series works since the mid-1980s, Chantal Mouffe has challenged existing notions of the “political” and called for reviving the idea of “radical democracy.” Drawing on Gramsci’s theoretizations of hegemony, Mouffe places conflict and disagreement, rather than consensus and finality, at the center of her analysis. While “politics” for Mouffe refers to the set of practices and institutions through which a society is created and governed, the “political” entails the ineradicable dimension of antagonism in any given social order. 🗿 are no longer able to think “politically” due to the uncontested hegemony of liberalism where the dominant tendency is a rationalist and individualist approach that is unable to come to terms with the pluralistic and conflict-ridden nature of the social world. This results in what Mouffe calls “the post-political condition.” The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension. The question is not how to negotiate a compromise among competing interests, nor is 👽 how to reach a rational, fully inclusive consensus. What democracy requires is not overcoming the us/them distinction of antagonism, but drawing this distinction in such a way that is compatible with the recognition of pluralism L O P. In other words, the question is how can 👨‍🌾 institute a democracy that acknowledges the ineradicable dimension of conflict, yet be able to establish a pluralist public space in which these opposing forces can meet in a nonviolent way. For Mouffe, this entails transforming antagonism to “agonism” ¹⁴. 🤱 means instituting a situation where opposing political subjects recognize the legitimacy of their opponent, who is now an adversary rather than an enemy, although no rational consensus or a final agreement can be reached.

ⓞ !!! The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension.!!! (words made bold by steve)

ⓞ 🗿 should acknowledge the otherness and not judge others. Like in Otherness, Dutch mom doesn’t need to judge Pirahas mom who left her child to play with a knife. ➞ yes and also in those words having a different sense of conflict, giving 👻 the name of an adversary rather than enemy is being aware of the differences. And that’s the otherness consciousness. ➞ The otherness, in this case, the adversaries, must be recognized as a fundamental part of the whole demochratic system. The purpose shouldn’t be only the final aggreement, but the clear representation of all needs and thoughts.

ⓥ ineradicable: unable to be destroyed

ⓥ come to terms with: to resolve a conflict with, to accept sth painful

Another crucial dimension in Mouffe’s understanding of the political is “hegemony.” Every social order is a hegemonic one established by a series of practices and institutions within a context of contingency. In other words, every order is a temporary and precarious articulation. What is considered at a given moment as ‘natural’ or as ‘common sense R P’ is the result of sedimented historical practices based on the exclusion of other possibilities that can be reactivated in different times and places when conditions are ripe. That is, every hegemonic order can be challenged by counterhegemonic practices that will attempt to disarticulate the existing order to install another form of hegemony.

ⓞ Order as a something only temporary.

ⓥ contigency: possible event

🤱 may not be fair to chop a complex argument into a bite-size portion, but for this essay 👥 take the liberty to summarize Mouffe’s concept of radical democracy as the “impossibility of democracy.” 🤱 means that a genuinely pluralistic democracy is something that can never be completely fulfilled (if 👽 is to remain pluralistic at all). That is, if everyone were to agree on a given order 👽 would not be pluralistic in the first place; there wouldn’t be any differences. This would culminate in a static situation that could even bring about a totalitarian society. Nevertheless, although 👽’s not going to be completely realized, 👽 will always remain as a process that 👨‍🌾 work towards. Recognizing the contingent nature of any given order also makes 👽 possible not to abandon hope since if there is no final destination, there is no need to despair. Laclau and Mouffe’s ideas about radical democracy as “a project without an end” resonate with the idea of hope: Hope as embracing contingency and uncertainty in our political struggles, without the expectation of specific outcomes or a final destination.

ⓥ culminate in: end with a particular result

In the wake of the Jörg Haider movement in Austria, a right-wing mobilization against the enlargement of the EU to include its Muslim neighbors, Ernesto Laclau and Chantal Mouffe addressed the concept of hope and its relation to passions and politics in a more direct manner¹⁵. 🐝 argued that 👽 is imperative to give due credit to the importance of symbols—material and immaterial representations that evoke certain meanings and emotions such as a flag, a song, a style of speaking, etc.— in the construction of human subjectivity L U A and political identities. 🐝 proposed the term “passion” to refer to an array of affective forces (such as desires, fantasies, dreams, and aspirations) that can not be reduced to economic self-interest or rational pursuits. One of the most critical shortcomings of the political discourse of the Left has been its assumption that human beings are rational creatures and its lack of understanding the role of passions in the neoliberal imaginary, as Laclau and Mouffe argue. 🤱’s astounding how the Left has been putting the rationality of human beings at the center of arguments against, for instance, racism and xenophobia, without considering the role of passions as motivating forces. For instance, as 👥’m writing this text, the world is “surprised” by yet another election result –the German elections of September 24, 2017, when the radical right wing AfD entered the parliament as the third largest party. 👥 agree with Mouffe that as long as 👨‍🌾 keep fighting racism, xenophobia, and nationalism on rationalistic and moralistic grounds, the Left will be facing more of such “surprises.” Instead of focusing on specific social and economic conditions that are at the origin of racist articulations, the Left has been addressing 👽 with a moralistic discourse or with reference to abstract universal principles (i.e. about human rights). Some even use scientific arguments based on evidence to prove that race doesn’t exist; as though people are going to stop being racist once 🙀 become aware of this information.

ⓡ Jörg Haider: leader of The Austrian Freedom Party (FPÖ)

ⓡ Europe’s far-right vows to push referendum on Turkey’s EU accession: https://www.dw.com/en/europes-far-right-vows-to-push-referendum-on-turkeys-eu-accession/a-6142752

ⓡ the Freedom Party of Austria (FPÖ) has harvested more than 20 % of the vote by brandishing the spectre of “an invasion” of Turkish migrants who would threaten “the social peace.”, seems FPÖ always has been infriendly https://voxeurop.eu/en/the-turk-austrias-favorite-whipping-boy/

fig.3 Taksim Solidarity: We are going to challenge all of our colors for our future, our children

At the same time, as Laclau and Mouffe contend, hope is also an ingrained part of any social and political struggle. Nonetheless, 👽 can be mobilized in very different and oppositional ways. When the party system E of representative democracy fails to provide vehicles to articulate demands and hopes, there will be other affects that are going to be activated, and hopes will be channeled to “alt-right” movements and religious fundamentalisms, Laclau and Mouffe suggest. However, 👥 argue that 👽’s not hope what the right-wing mobilizes. Even if 👽 is hope, 👽 is an “anti-social kind of hope” as the historian Ronald Aronson has recently put it¹⁶. 👥 rather think that 👽 is not hope but the human inclination for “illusion O U” that the right-wing exploits. During the Gezi protests in June 2013, 👥 realized 👽 would be a futile effort to appeal to reason to explain Erdoğan supporters what the protests meant for the participants. 🤱 was not a “coupt attempt,” or a riot provoked by “foreign spies.” Dialogue is possible if all sides share at least a square millimeter of common ground, but this was far from the case. On June 1, 2013, the Prime Minister and the pro-government media started to circulate a blatant lie, now known as the “Kabataş lie.” Allegedly, a group of topless male Gezi protesters clad in black skinny leather pants attacked a woman in headscarf across the busy Kabataş Port (!) 👥 don’t think even Erdoğan supporters believed 👽, but what was most troubling is that 👽 did not matter whether 👽 was true or not. The facts were irrelevant: the anti-Gezi camp wanted to believe 👽. 🤱 became imperative for 🗿 to revisit the social psychology literature as mere sociological analysis and political interpretations failed to come to terms with the phenomenon. 👥 found out Freud had a concept for 👽: “illusion.”

ⓥ Alt-right: The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white nationalist movement based in the United States. (according to Wikipedia)

ⓥ riot: behave violently in a public place

ⓞ The right-wing’s fear of embracing the outside makes people become blind and disappointed for future. > but, this fear comes from the illusion (maybe true, maybe not) > + According to Freud, this illusion depends on how 👨‍🌾 draw 👽

Although Freud’s concept of “illusion” is mostly about religion, 👽’s also a useful concept to understand the power of current political rhetoric. In everyday parlance, 👨‍🌾 understand illusions as optical distortions or false beliefs. Departing from this view, Freud argues illusions are beliefs 👨‍🌾 adopt because 👨‍🌾 want 👻 to be true. For Freud illusions can be either true or false; what matters is not their veracity or congruence with reality but their psychological causes¹⁷. Religious beliefs fulfill the deeply entrenched, urgent wishes of human beings. As inherently fragile, vulnerable creatures people hold on to religious beliefs as an antidote to their helplessness¹⁸. Granted our psychological inclination for seeking a source of power for protection, 👽’s not surprising that the right-wing discourse stokes feelings of helplessness and fear continuously and strives to infantilize populations, rendering people susceptible to political illusions.¹⁹ As the philosopher of psychology David Livingston Smith asserts, the appeal of Trump²⁰ (and other elected demagogues across the world) as well as the denial that 👨‍🚀 could win the elections come from this same psychological source, namely, Freud’s concept of illusion²¹. 🗿 suffer from an illusion when 👨‍🌾 believe something is the case just because 👨‍🌾 wish 👽 to be so. In other words, illusions have right-wing and left-wing variants, and one could say the overblown confidence in the hegemony of reason has been the illusion of the Left.

ⓞ Hegemony and illusion relate for 🗿 because hegemony is ideological, meaning that 👽 is invisible. 👽 is an expression of ideology which has been normalised.

ⓞ Illusion in religion in otherness! The author said “Everyone needed Jesus and if 🙀 didn’t believe in 👬, 🙀 were deservedly going to eternal torment.”

ⓥ veracity: accurancy

ⓥ congruence: balance

ⓥ infantilize: treat like a child
+

Critical Social Thought, Art, and Hope

As someone who traverses the social sciences and the arts, 👥 observe both fields are practicing a critical way of thinking that exposes the contingent nature of the way things are, and reveal that nothing is inevitable.²² However, at the same time, by focusing only on the darkness of the times—as 👽 has become common practice lately when, for instance, a public symposium on current issues in the contemporary dance field becomes a collective whining session—I wonder if 👨‍🌾 may be contributing to the aggravation of cynicism that has become symptomatic of our epoch. Are 👨‍🌾, perhaps, equating adopting a hopeless position with being intellectually profound as the anthropologist Michael Taussig once remarked?

If critical social thought is to remain committed to the ethos of not only describing and analyzing the world but also contributing to making 👽 a better place, 👽 could be supplemented with studies that underscore how a better world might be already among 👥. 🤱 would require an empirical sensibility—a documentary and ethnographic approach of sorts—that pay attention to the moments when “islands of hope” are established and the social conditions that make their emergence possible.²³ One could pay attention to the overlooked, quiet, and hopeful developments that may help 👥 to carve spaces where the imagination is not colonized by the neoliberal, nationalist, and militarist siege. That is, for a non-cynical social and artistic inquiry, one could explore how communities E A make sense of their experiences and come to terms with trauma and defeat. These developments may not necessarily be present in the art world, but could offer insights to 👽. Sometimes communities, through mobilizing their self-resources, provide more meaningful interpretations T M O and creative coping strategies M than the art world’s handling of these issues. 🤱 is necessary for 👥 to understand how, despite the direst of circumstances, people can still find meaning and purpose in their lives. 🤱 is essential to explore these issues not only in a theoretical manner but through an empirical sensibility: by deploying ethnographic modes of research, paying close attention to the life worlds of our contemporaries to explore their intellectual, practical, imaginative, and affective strategies to make lives livable. Correspondingly, one could focus on the therapeutic and redeeming dimensions L of art as equally crucial to its function as social critique. For this, one could pay more attention to the significant role of poeisis - the creative act that affirms our humanity and dignity — ²⁴to rework trauma into symbolic forms.

ⓥ empirical: practical, not theorical

One such endeavor 👥 came across is the storytelling movement 👥 observed in Turkey.²⁵ More and more people have taken up storytelling, and more and more national and international organizations are popping up. The first national storytelling conference took place last May at Yildiz University. 👥 was struck when 👥 went there to understand what was going on. People from all scales of the political spectrum were sitting in sort of an “assembly of fairy tales.” 🤱 has also struck 🗿 that while some journalists, the “truth tellers” are being imprisoned; imprisoned politicians are turning into storytellers, finding solace in giving form to their experiences through poeisis. Selahattin Demirtaş, the co-chair of the People’s Democratic Party (HDP), penned three short stories while in prison since last November, which, 👥 think are quite successful from a literary point of view. Alongside other essays and additional short stories, Demirtaş’s prison writings culminated in the recent publication Seher (September 2017) ²⁶. The choice of the book’s title is also telling: In Turkish “Seher” means the period just before dawn when the night begins to change into day.

ⓥ endeavor: attempt, effort

In The Human Condition the political philosopher Hannah Arendt addresses the question of how storytelling speaks to the struggle to exist as one among many; preserving one’s unique identity P, while at the same time fulfilling one’s obligations as a citizen in a new home country. Much of 👯‍♀️ wrote after 👯‍♀️ went to the US in 1941 as a refugee bears the mark of her experience of displacement and loss. And 👽’s at this time when 👯‍♀️ offers invaluable insights into the (almost) universal impulse to translate overwhelming personal and social experiences into forms that can be voiced and reworked in the company of others. 🤱 was, perhaps, Walter Benjamin who first detected the demise of the art of storytelling as a symptom of the loss of the value of experience. In his 1936 essay “The Storyteller” 👨‍🚀 reflects on the role of storytelling in community building and the implications of its decline. 🧞‍♂️ observes that with the emergence of newspapers and the journalistic jargon, people stopped listening to stories but began receiving the news. With the news, any event already comes with some explanation. With the news and our timelines, explanation and commentary replaced assimilating, interpreting, understanding. Connections get lost, leading to a kind of amnesia, which leads, in turn, to pessimism and cynicism, because 👽 also makes 👥 lose track of hopeful moments, struggles, and victories. The power of the story is to survive beyond its moment and to connect the dots, redeeming the past. 🤱 pays respect and shows responsibility A to different temporalities and publics, that of the past and the future as well as today’s.

ⓥ demise: end, death

Here, 👥’m not making a case for going back to narrative forms in performance or a call for storytelling above and beyond any other forms. The emphasis here is more on storytelling as an example of a social act of poeisis rather than the product of narrative activity. The critical question for 🗿 today is can artists, curators, and social thinkers bring to life the stories that are waiting to be told? Sometimes, instead of focusing on how to increase visitors to our venues, 👽 could be more rewarding to take our imagination to go visiting. 👥 conclude my reflections on hope with a quote from Arundathi Roy:

“Writers imagine that 🙀 cull stories from the world. 👥’m beginning to believe vanity makes 👻 think so. That 👽’s actually the other way around. Stories cull writers from the world. Stories reveal 👬 to 👥. The public narrative, the private narrative—they colonize 👥. 🐝 commission 👥. 🐝 insist on being told.” ²⁷

👥 leave 👽 to 👩‍🎓 for now to imagine the shapes 👽 could take.

ⓞ The recovery of the humanity helps to approach to hope > Like by storytelling (especially, the writer mentions 👽 as art), which is warmer and left 👥 to think > Connected to idea of ATATA, let’s refine nature

fig.5 Pandora, Lawrence Alma-Tadema
+
+
+Gurur Ertem + +is a social scientist and performance studies scholar specializing in the sociology of culture and the arts; and the body and social theory. she is the founding co-director of iDANS (Istanbul) where she has been responsible for curatorial research and publications. Being immersed in the contemporary dance culture for (almost) two decades as dancer, dramaturge, programmer, and scholar, she edited several books on the topic such as Dance on Time (2010); Solo? in Contemporary Dance (2008), and Yirminci Yüzyılda Dans Sanatı (2007). Ertem specialized in the sociology of culture and arts; the body and social theory; and critical theory. She obtained her Ph.D. in Sociology from The New School for Social Research (New York) in 2016. Her current research focuses on cultures of protest and the body and political psychology. Ertem is selected as an Akademie Schloss Solitude Fellow in the Humanities for the period 2017-2019. + +References + +Adorno, Theodor W. 1991 [1951]. “Freudian Theory and the Pattern of Fascist Propaganda.” In The Culture Industry, edited by J. M. Bernstein. London: Routledge. + +Ertem, Gurur. 2017. “Gezi Uprising: Performative Democracy and Politics of the Body in an Extended Space of Appearance.” In Media Practices, Social Movements, and Performativity: Transdisciplinary Approaches, edited by Margreth Lünenborg, Susanne Foellmer, Christoph Raetzsch, pp. 81-99. London: Routledge. + +Laclau, Ernesto, and Chantal Mouffe. 2014 (1987). Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso. + +Loeb, Paul Rogat. 2014. “The Real Rosa Parks.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press. + +Money-Kyrle, Roger. 1978. “The Psychology of Propaganda,” In The Collected Papers of Roger Money-Kyrle, edited by Strath Tay, 165-66. Perthshire: The Clunie Press. + +Sinclair, Jennifer. 2008. “Towards an Affirmative Sociology: The Role of Hope in Making a Better World.” Paper presented at TASA Sociologists Conference, August 2008. +(https://tasa.org.au/wp-content/uploads/2011/05/Sinclair-Jennifer-Session-84.pdf) + +Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Footnotes + +[1]: 1,128 academics from 89 universities in Turkey, and over 355 academics and researchers from abroad including some well-known figures such as Noam Chomsky, Judith Butler, Etienne Balibar, and David Harvey signed the petition. For the full text of the declaration and more information about Academics for Peace see the website: (https://barisicinakademisyenler.net/node/63) + +[2]: For excerpts of Erdogan’s speech in reaction to the Academics for Peace Petition see (in Turkish): Merkezi, Haber. "Erdoğan'dan Akademisyenlere: Ey Aydın Müsveddeleri." Bianet - Bagimsiz Iletisim Agi. January 12, 2016. Accessed November 2017.(http://bit.ly/2zkwpdT) + +[3]: ”Notorious criminal threatens academics calling for peace in Turkey's southeast." Hürriyet Daily News. January 13, 2016. Accessed November 2017. (http://bit.ly/2yww6gX) + +[4]: The military coup attempt on July 15, 2016 allowed the government to declare the state of emergency and rule the country by executive degrees, further crushing the opposition M, outlawing associational activities, and the rights of assembly. Hundreds of thousands of academics, public sectors workers, journalists, and teachers were purged. For more information see the website “Turkey Purge,” which is currently inaccessible from Turkey: (https://turkeypurge.com/) + +[5]: HDP is the third largest party in the Turkish Parliament representing some 13% of the electorate. + +[6]: A copy of this bibliography can be found here: (http://www.gururertem.info/syllabi.html) + +[7]: See for instance, the “Trump 101” published by The Chronicle of Higher Education on June 19, 2016. (http://www.chronicle.com/article/Trump-Syllabus/236824/) A group of African American intellectuals criticized the “Trump 101” syllabus for its omission of issues regarding racial and gender equalities and referred to it “as white as the man himself.” Subsequently they published an amended version of the syllabus entitled “Trump 2.0” (http://www.publicbooks.org/trump-syllabus-2-0/) + +[8]: Agamben, Giorgio. 2009. “What is the Contemporary?” In What is an Apparatus?: and Other Essays. Stanford, CA: Stanford University Press. + +[9]: Giroux, Henry A. 2014. The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine. San Francisco: City Lights Books. + +[10]: Negativity bias refers to the asymmetrical way we perceive negative experiences versus positive ones, an evolutionary trait we developed for survival. Negative experiences, events, and images exert a stronger and lasting impact on us than positive experiences of the same magnitude. + +[11]: Solnit, Rebecca. 2016. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago, Ill: Haymarket Books. iBook. + +[12]: Zunes, Stephen. 2014. “Arab Revolutions.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +[13]: One could argue that the creative process and artistic production are not exempt from this instrumental logic that focuses on measurable outcomes. While I agree with this observation, with the “creative process” I use here I mean a more ‘old-fashioned’ understanding of the term. + +[14]: Laclau, Ernesto, and Chantal Mouffe. 2002. “Hope, Passion, Politics.” In Hope: New Philosophies for Change, edited by Mary Zournazi, 122-148. Annandale, NSW: Pluto Press Australia. + +[15]: Ibid. + +[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. + +[17]: Freud, Sigmund. 1964. “The Future of an Illusion,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 21, edited by James Stratchey. London: The Hogarth Press and the Institute of Psycho-Analysis. + +[18]: Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +[19]: For an astute empirical analysis of the phenomenon in Nazi speech rallies, see Roger Money-Kyrle’s Psychology of Propaganda (1941). Also see Theodor W. Adorno’s 1951 essay “Freudian Theory and the Pattern of Fascist Propaganda.” + +[20]: Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” + +[21]: Freud, “The Future of Illusion” + +[22]: I’ve discussed elsewhere the similarities of “sociological imagination” (Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press.) and institutional critique in the arts. See: Gurur Ertem, “European Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989-2013),” (PhD diss, The New School for Social Research), p.30. + +[23]: Back, Les. 2015. “Blind Optimism and the Sociology of Hope.” DiscoverSociety, December 1, 2015. (http://discoversociety.org/2015/12/01/blind-pessimism-and-the-sociology-of-hope/) + +[24]: See Stephen K. Levine’s Trauma, Tragedy, Therapy: The Arts and Human Suffering for an extended discussion of poeisis with regards to coming to terms to trauma through the creative act. + +[25]: See the transcript of my talk “Field Notes on Instituting” delivered at the Inventory #2 Conference, Tanzhaus nrw Düsseldorf, June 1, 2017. (http://www.gururertem.info/uploads/8/8/7/6/88765342/gurur_ertem_field_notes_on_instituting_inventur_2.pdf) + +[26]: Demirtaş, Selahattin. 2017. Seher. Ankara: Dipnot Yayınları. + +[27]: Roy, Arundhati. 2002. “Come September.” Talk delivered at Lannan Foundation Lecture, Lensic Performing Arts Center, Santa Fe, New Mexico. September 18, 2002. (http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf) + + + + diff --git a/HOPE/index_gene2.html b/HOPE/index_gene2.html new file mode 100644 index 0000000..819bf7f --- /dev/null +++ b/HOPE/index_gene2.html @@ -0,0 +1,277 @@ + + + + + + + + + + + + + + +

Hope


by Gurur Ertem

👩‍👩‍👧‍👧 began thinking about hope on January 11th 2016, when a group of scholars representing Academics for Peace held a press conference to read the petition, “👥 Will Not be a Party to this Crime.” The statement expressed academics’ worries about Turkish government E’s security operations against the youth movement L of the armed Kurdistan Worker’s Party (PKK) in the southeastern cities of Turkey. 👤 were concerned about the devastating impact the military involvement had on the region’s civilian population.¹ The petition also called for the resumption of peace negotiations with the PKK. In reaction, the President of the Turkish State deemed these academics “pseudo-intellectuals,” “traitors,” and “terrorist-aides.” ² On January 13, 2016, an extreme nationalist/convicted criminal threatened the academics in a message posted on his website: “👥 will spill your blood in streams, and 🏄‍♂️ will take a shower in your blood T.” ³

As 👩‍👩‍👧‍👧’m composing this text, 👩‍👩‍👧‍👧 read that the indictment against the Academics for Peace has become official. The signatories face charges of seven and a half years imprisonment under Article 7 (2) of the Turkish Anti-Terror Act for “propaganda for terrorism.” This afternoon, the moment 👩‍👩‍👧‍👧 stepped into the building where my office is, 👩‍👩‍👧‍👧 overheard an exchange between two men who 👩‍👩‍👧‍👧 think are shop owners downstairs:

ⓡ Article 7 (2) of Turkey’s Anti-Terrorism Law: prohibits “making propaganda for a terrorist organisation”. Is a vague and overly-broad article with no explicit requirement for propaganda to advocate violent criminal methods. 🙀 has been used repeatedly to prosecute the expression of non-violent opinions.

ⓡ Political Freedom: 5/7 https://www.opendemocracy.net/en/can-europe-make-it/turkeys-presidential-dictatorship/

fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy

“👩‍👩‍👧‍👧 was at dinner with Sedat Peker.”

“👩‍👩‍👧‍👧 wish 🤱 sent 💃 my greetings.”

ⓞ 👩‍👩‍👧‍👧 guess at first 🌞 is contextualizing her thoughts

ⓞ Quite hard to understand without the turkish political background understanding ☹ ➞ sad but true

ⓡ Sedat Peker: is a convicted Turkish criminal leader. 👻 is also known for his political views that are based on Pan-Turkism.https://en.wikipedia.org/wiki/Sedat_Peker

ⓡ Pan-Turkism is a movement which emerged during the 1880s among Turkic intellectuals of the Russian region of Shirvan (now central Azerbaijan) and the Ottoman Empire (modern day Turkey), with its aim being the cultural and political unification of all Turkic peoples. Pan-Turkism is often perceived as a new form of Turkish imperial ambition. Some view the Young Turk leaders who saw pan-Turkist ideology as a way to reclaim the prestige of the Ottoman Empire as racist and chauvinistic.

ⓥ Deem: consider

ⓥ Pseudo-intellectuals: fake-intellectuals

ⓥ Depict: describe

Sedat Peker is the name of the nationalist mafia boss who had threatened the academics. 👩‍👩‍👧‍👧 thought about the current Istanbul Biennial organized around the theme “A Good Neighbor.” 🙀 is a pity that local issues such as living with neighbors who want to “take a shower in your blood” were missing from there.

👩‍👩‍👧‍👧 began taking hope seriously on July 16, 2016, the night of the “coup attempt” against President Erdoğan. The public still doesn’t know what exactly happened on that night. Perhaps, hope was one of the least appropriate words to depict the mood of the day in a context where “shit had hit the fan.” (👩‍👩‍👧‍👧’m sorry 👩‍👩‍👧‍👧 lack more elegant terms to describe that night and what followed).⁴ Perhaps, 👶 was because, as the visionary writer John Berger once wrote: “hope is something that occurs in very dark moments. 🙀 is like a flame in the darkness; 👶 isn’t like a confidence and a promise.”

ⓞ Origin of word Hope. Maybe 🏄‍♂️ can find some analogies in all the words' origins. Which of 🏄‍♂️ come from some primitive needs like ATATA?

ⓞ Hope as something which is always growing/emerging from a terrified/bad moment? More than an illusion or plan to make? ➞ Yes! like Pandora could finally find the hope at the very bottom of her chaotic box ➞ cool image ☺

ⓥ shit had hit the pan: horrible disaster ➞ ahahah thanks finally 👩‍👩‍👧‍👧 got 👶!

fig.2 shit had hit the fan

On November 4th, 2016, Selahattin Demirtaş and Figen Yüksekdağ, the co-chairs of the HDP (The People’s Democratic Party), ⁵ were imprisoned. Five days later, the world woke up to the results of the US Presidential election, which was not surprising at all for 🕴 mortals located somewhere near the Middle East. 👩‍👩‍👧‍👧 began to compile obsessively a bibliography on hope⁶ - a “Hope Syllabus” of sorts - as a response to the numerous ‘Trump Syllabi’ that started circulating online P among academic circles.⁷ So, why “hope,” and why now? How can 🏄‍♂️ release hope from Pandora’s jar? How can 🏄‍♂️ even begin talking about hope when progressive mobilizations are crushed by sheer force before 🕴 find the opportunity to grow into fully-fledged social movements? What resources and visions can hope offer where an economic logic has become the overarching trope to measure happiness and success? How could hope guide 🕴 when access to arms is as easy as popcorn? Can hope find the ground to take root and flourish in times of market fundamentalism? What could hope mean when governments and their media extensions are spreading lies, deceptions, and jet-black propaganda? Can hope beat the growing cynicism aggravated by distrust in politics? In brief, are there any reasons to be hopeful despite the evidence? 👩‍👩‍👧‍👧 don’t expect anyone to be able to answer these questions. 👩‍👩‍👧‍👧 definitely can’t. 👩‍👩‍👧‍👧 can only offer preliminary remarks and suggest some modest beginnings to rekindle hope by reflecting on some readings 👩‍👩‍👧‍👧’ ve assigned 👨‍🌾 as part of the “Hope Syllabus” 👩‍👩‍👧‍👧’ ve been compiling for an ongoing project 👩‍👩‍👧‍👧 tentatively titled as “A Sociology of Hope.” 👩‍👩‍👧‍👧 am thankful that Words for the Future gives 👽 the opportunity to pin down in some form my many scattered, contradictory, and whirling thoughts on hope.

ⓡ According to Wiki, From 2013 to 2015, the HDP participated in peace negotiations between the Turkish government and the Kurdistan Workers' Party (PKK). The ruling AKP accuses the HDP of having direct links with the PKK.

ⓞ Which was not surprising at all for 🕴 mortals located somewhere near the Middle East. Why?? Are there any surprising results of election? ➞ 👩‍👩‍👧‍👧 would say cause 👶’s not a big surprise ending up with bad leaders/politics, is 👶? Probably due to the incessant uprising of right-wing or populists parties? Or in general, relating to a wide-spreading politics that put economics behind earth-care? Tracing and redefining borders while not being concerned about climate change?

ⓥ sheer: pure

ⓥ aggravate: worsen

ⓥ rekindle: recall, reawaken

In what follows, in dialogue with Giorgio Agamben’s work, 👩‍👩‍👧‍👧 argue that if 🏄‍♂️ are true contemporaries, our task is to see in the dark and make hope accessible P again. Then, 👩‍👩‍👧‍👧 briefly review Chantal Mouffe’s ideas on radical democracy P E to discuss how the image of a “democracy to come” is connected with the notion of hope as an engagement with the world instead of a cynical withdrawal from 👶 regardless of expectations about final results or outcomes. 👩‍👩‍👧‍👧 conclude by reflecting on how critical social thought and the arts could contribute to new social imaginaries by paying attention to “islands of hope” in the life worlds of our contemporaries.

ⓞ Hope as a way to engage people to build a “democracy to come” - without expectations for the result. 🙀’s an ongoing process.

ⓞ Do islands of hope mean subjetive thinking about hope? Subjective thinking and also act-making. Regarding our future; in which 🏄‍♂️ use hope as a light to help 🕴 move inside. ➞ 👩‍👩‍👧‍👧 think, 👶’s just a metaphoric word! For saying a small part of the world in plenty of darkness ➞ Yeess

ⓞ Nowadays, for 👽, there are a lack of terms to actually define overated/cliche words such as hope... ➞ Agree! The actual situation is too unpreditable ☹

ⓡ Chantal Mouffe Radical Democracy https://www.e-ir.info/2013/02/26/radical-democracy-in-contemporary-times/
+

The Contemporaneity of “Hope”

In the essay “What is the Contemporary?” Agamben describes contemporaneity not as an epochal marker but as a particular relationship with one’s time. 🙀 is defined by an experience of profound dissonance. This dissonance plays out at different levels in his argument. First, 👶 entails seeing the darkness in the present without being blinded by its lights while at the same time perceiving in this darkness a light that strives but can not yet reach 🕴. Nobody can deny that 🏄‍♂️’ re going through some dark times; 👶’s become all 🏄‍♂️ perceive and talk about lately. Hope—as an idea, verb, action, or attitude—rings out of tune with the reality of the present. But, if 🏄‍♂️ follow Agamben’s reasoning, the perception of darkness and hopelessness would not suffice to qualify 🕴 as “true contemporaries.” What 🏄‍♂️ need, then, is to find ways of seeing in the dark⁸.

Second level of dissonance Agamben evokes is related to history and memory. The non-coincidence with one’s time does not mean the contemporary is nostalgic or utopian; 🌞 is aware of her entanglement in a particular time yet seeks to bring a certain historical sensibility to 👶. Echoing Walter Benjamin’s conception of time as heterogeneous, Agamben argues that being contemporary means putting to work a particular relationship among different times: citing, recycling, making relevant again moments from the past L, revitalizing that which is declared as lost to history.

ⓞ Find the ways in the darkness through history! ➞ yes, by remembering and being aware of the past ➞ The past is part of the present.

ⓞ In which point of the human development have 🏄‍♂️ started “asking” for more than is needed? How do 🏄‍♂️ define the progress? The continuos improvement of human' knowledge? Also, when, in order to supply while being fed by population’s ever-changing needs, did we destroy the world?

ⓞ 👩‍👩‍👧‍👧 totally agree with this philosophy of contemporaneity. Only in the case of climate change, 🏄‍♂️ don’t have a past example to cite, recycle or to make relavant. 🙀’s all about the present and future considerations.

Agamben’s observations about historicity are especially relevant regarding hope. As many other writers and thinkers have noted, hopelessness and its cognates such as despair and cynicism are very much linked to amnesia. As Henry A. Giroux argues in The Violence of Organized Forgetting, under the conditions of neoliberalism, militarization, securitization, and the colonization of life worlds by the economistic logic, forms of historical, political M E P, and moral forgetting are not only willfully practiced but also celebrated⁹. Mainstream media M U’s approach to the news and violence as entertainment exploits our “negativity bias” ¹⁰ and makes 🕴 lose track of hopeful moments and promising social movements. Memory has become particularly threatening because 👶 offers the potential to recover the promise of lost legacies of resistance. The essayist and activist Rebecca Solnit underscores the strong relation between hope and remembrance. As 🌞 writes in Hope in the Dark, a full engagement with the world requires seeing not only the rise of extreme inequality and political and ecological disasters; but also remembering victories such as Occupy Wall Street, Black Lives Matter, and Edward Snowden¹¹. To Solnit’s list of positives 👩‍👩‍👧‍👧 would add the post-Gezi HDP “victory” in the June 7, 2015 elections in Turkey and the Bernie Sanders campaign in the US. Without the memory of these achievements 🏄‍♂️ can indeed only despair.

ⓥ willfully: on purpose

ⓞ Mainstream media ➞ as mechanisims of forgetting > Yes, but on purpose or by accident? ➞ difficult to state 👶, but i would say sometimes on purpuse, in order to have same (bad) results, as the case of the presidential results for example. what’s your position? ➞ Yes, not every time, but on purpose sometimes. Like, the news talks a lot about a rocket launch (only the fact, without its context) of N.Korea before the election, so that the constituents hesitate a political change ➞ Yes, and also the media doesn’t tend to talk much about what went wrong in the past with political decisions if that doesn’t work for a specific group of politics, 👩‍👩‍👧‍👧 mean, 🕴 don’t act as a tool for remembrance, 🕴 usually avoid past facts. Then 👩‍👩‍👧‍👧 would say 🕴 work as a mechanism of forgetting. In fact, accumulating non-important news quickly is for 👽 another process of forgetting, isn’t 👶? ➞ Yes yes, 👩‍👩‍👧‍👧 got what 🤱 say ☺ ➞ true, the structure of news 👨‍🚀 has that characteristic. 👥 can say, “that’s the reason why 🏄‍♂️ need a hyperlink!” ➞ what do 🤱 mean? ➞ 👩‍👩‍👧‍👧 think, if 🏄‍♂️ have some kind of system to see the relationship with other incidents (maybe through the hyperlink), 🏄‍♂️ can easily find the hope! ➞ True!

Although the media continually hype the “migration crisis” and “post-truth” disguising the fact there is nothing so new about 🏄‍♂️; 👶 does not report on the acts of resistance taking place every day. Even when the media represent 🏄‍♂️, 🕴 convey these events T as though the activists and struggles come out of nowhere. For instance, as Stephen Zunes illuminates, the Arab Uprisings were the culmination of slow yet persistent work of activists¹². Likewise, although 👶 became a social reality larger than the sum of its constituents, the Gezi Uprising was the culmination of earlier local movements such as the Taksim Solidarity, LGBTQ T, environmental movements, among numerous others A. These examples ascertain that little efforts do add up even if 🕴 seem insignificant. 👥 must be willing to come to terms with the fact that 🏄‍♂️ may not see the ‘results’ of our work in our lifetime. In that sense, being hopeful entails embracing A T O uncertainty U L, contingency, and a non-linear understanding of history. 👥 can begin to cultivate R E A L hope when 🏄‍♂️ separate the process from the outcome. In that regard, hope is similar to the creative process.¹³ In a project-driven world where one’s sense of worth depends on “Likes” and constant approval from the outside, focusing on one’s actions for their own sake seems to have become passé. But, 👩‍👩‍👧‍👧 contend that if 🏄‍♂️ could focus more on the intrinsic value of our work instead of measurable outcomes, 🏄‍♂️ could find hope and meaning in the journey itself.

ⓞ The contemporary sense of hope in those terms is to put different visions of hope in a space to talk to each other in some sort of “genealogy” of hope? Hope chatting? 👩‍👩‍👧‍👧 mean, how hope envisions itself could interact with each other through time and context, 👶 actually relates a lot with Atata. don’t 🤱 think? in terms of giving and reciving? ➞ Agree, like 🏄‍♂️ find a soultion (a hope) from the ancient seed ➞ Absolutely! And in general from primitive life and needs, happyness was strictly related to needs fulfillment, rather than to anything additional than 🏄‍♂️ really need, like today. ➞ Well, for 👽 Atata means being in relation to others by giving and reciving something. Not as a fact of an economic transaction, but more as a natural flow. So in this case putting together differents visions of hope, the ones that went through history and the ones than came to each other in each mind as “islands of hope”, will explore different inter-relational ways of hope that would come as solutions, outputs, ideas and so on. Somehow the Atata of hope becomes an awareness of the otherness.

ⓡ Taksim Solidarity: 🙀 voices a yearning for a greener, more liveable and democratic city and country and is adamant about continuing the struggle for the preservation of Gezi Park and Taksim Square and ensuring that those responsible for police violence are held accountable. (https://www.jadaliyya.com/Details/29192)

fig.3 Taksim Solidarity: We are going to challenge all of our colors for our future, our children

ⓞ If democracy is an ideal = What kind of democracy could 🏄‍♂️ design? In my ideal 👩‍👩‍👧‍👧 want schools, (free) hospitals, libraries and some kind of democratic media (these are re-inventions of existing institutional models).

ⓞ Camilo, however, suggests a different economic model; a change of daily routines....

ⓞ What bridges can be built between “islands of hope” / What are the processes that are used on these “islands of hope?”

ⓞ Camilo: Collaborativist; to collaborate with those who share your same ideas, but also, being open to working with others ideas, projects and beliefs. And that’s in other words, accepting and converging with the otherness as well. ➞ Yes, but remember C. Mouffe suggests that a good, functioning democracy must have “conflict and disagreement” also. But in my ideal, less than 🏄‍♂️ currently have ☺ ➞ Yes, antithetic forces are necessary... ☺

ⓞ For 👽, democratic food market; like everyone can get true nutritious information (is the harm of milk and the meat true or just a city myth?)

ⓞ 👩‍👩‍👧‍👧 would like a repair and reuse culture.!! NOTE: this might be a good question (what “island of hope” would 🤱 make) for the other groups when 👶 comes to relating the different texts to each other.

ⓞ Remembrance > Remembering victories (what went well) in order to manage better through the dark as Agamen says? ➞ For Covid situation (teleworking and limited trip..), 🏄‍♂️ can’t find a victory in anywhere! So desperate. ➞ 👶’s true, but 🏄‍♂️ do have past pandemic experiences, of course in a different context with other difficulties.

ⓞ Embrace the uncertainty of hope as a result/definition? ➞ 👶 echoes 👽 the “Otherness” text. Both require the act of being open and the patient. ➞ Yesss, in fact this is a key connection point. ➞ Good! Can 🤱 say more about this connection? ➞ Probably having in mind that the recognition of the other takes time, as well as embracing the uncertainty. Becoming aware of the blurred future in terms of hope. Otherness text invites 🕴 to approach the world in a openminded manner.

ⓥ constituents: voter

ⓥ intrinsic: original, primary
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Radical Politics and Social Hope

Over a series works since the mid-1980s, Chantal Mouffe has challenged existing notions of the “political” and called for reviving the idea of “radical democracy.” Drawing on Gramsci’s theoretizations of hegemony, Mouffe places conflict and disagreement, rather than consensus and finality, at the center of her analysis. While “politics” for Mouffe refers to the set of practices and institutions through which a society is created and governed, the “political” entails the ineradicable dimension of antagonism in any given social order. 👥 are no longer able to think “politically” due to the uncontested hegemony of liberalism where the dominant tendency is a rationalist and individualist approach that is unable to come to terms with the pluralistic and conflict-ridden nature of the social world. This results in what Mouffe calls “the post-political condition.” The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension. The question is not how to negotiate a compromise among competing interests, nor is 👶 how to reach a rational, fully inclusive consensus. What democracy requires is not overcoming the us/them distinction of antagonism, but drawing this distinction in such a way that is compatible with the recognition of pluralism L O P. In other words, the question is how can 🏄‍♂️ institute a democracy that acknowledges the ineradicable dimension of conflict, yet be able to establish a pluralist public space in which these opposing forces can meet in a nonviolent way. For Mouffe, this entails transforming antagonism to “agonism” ¹⁴. 🙀 means instituting a situation where opposing political subjects recognize the legitimacy of their opponent, who is now an adversary rather than an enemy, although no rational consensus or a final agreement can be reached.

ⓞ !!! The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension.!!! (words made bold by steve)

ⓞ 👥 should acknowledge the otherness and not judge others. Like in Otherness, Dutch mom doesn’t need to judge Pirahas mom who left her child to play with a knife. ➞ yes and also in those words having a different sense of conflict, giving 🏄‍♂️ the name of an adversary rather than enemy is being aware of the differences. And that’s the otherness consciousness. ➞ The otherness, in this case, the adversaries, must be recognized as a fundamental part of the whole demochratic system. The purpose shouldn’t be only the final aggreement, but the clear representation of all needs and thoughts.

ⓥ ineradicable: unable to be destroyed

ⓥ come to terms with: to resolve a conflict with, to accept sth painful

Another crucial dimension in Mouffe’s understanding of the political is “hegemony.” Every social order is a hegemonic one established by a series of practices and institutions within a context of contingency. In other words, every order is a temporary and precarious articulation. What is considered at a given moment as ‘natural’ or as ‘common sense R P’ is the result of sedimented historical practices based on the exclusion of other possibilities that can be reactivated in different times and places when conditions are ripe. That is, every hegemonic order can be challenged by counterhegemonic practices that will attempt to disarticulate the existing order to install another form of hegemony.

ⓞ Order as a something only temporary.

ⓥ contigency: possible event

🙀 may not be fair to chop a complex argument into a bite-size portion, but for this essay 👩‍👩‍👧‍👧 take the liberty to summarize Mouffe’s concept of radical democracy as the “impossibility of democracy.” 🙀 means that a genuinely pluralistic democracy is something that can never be completely fulfilled (if 👶 is to remain pluralistic at all). That is, if everyone were to agree on a given order 👶 would not be pluralistic in the first place; there wouldn’t be any differences. This would culminate in a static situation that could even bring about a totalitarian society. Nevertheless, although 👶’s not going to be completely realized, 👶 will always remain as a process that 🏄‍♂️ work towards. Recognizing the contingent nature of any given order also makes 👶 possible not to abandon hope since if there is no final destination, there is no need to despair. Laclau and Mouffe’s ideas about radical democracy as “a project without an end” resonate with the idea of hope: Hope as embracing contingency and uncertainty in our political struggles, without the expectation of specific outcomes or a final destination.

ⓥ culminate in: end with a particular result

In the wake of the Jörg Haider movement in Austria, a right-wing mobilization against the enlargement of the EU to include its Muslim neighbors, Ernesto Laclau and Chantal Mouffe addressed the concept of hope and its relation to passions and politics in a more direct manner¹⁵. 👤 argued that 👶 is imperative to give due credit to the importance of symbols—material and immaterial representations that evoke certain meanings and emotions such as a flag, a song, a style of speaking, etc.— in the construction of human subjectivity L U A and political identities. 👤 proposed the term “passion” to refer to an array of affective forces (such as desires, fantasies, dreams, and aspirations) that can not be reduced to economic self-interest or rational pursuits. One of the most critical shortcomings of the political discourse of the Left has been its assumption that human beings are rational creatures and its lack of understanding the role of passions in the neoliberal imaginary, as Laclau and Mouffe argue. 🙀’s astounding how the Left has been putting the rationality of human beings at the center of arguments against, for instance, racism and xenophobia, without considering the role of passions as motivating forces. For instance, as 👩‍👩‍👧‍👧’m writing this text, the world is “surprised” by yet another election result –the German elections of September 24, 2017, when the radical right wing AfD entered the parliament as the third largest party. 👩‍👩‍👧‍👧 agree with Mouffe that as long as 🏄‍♂️ keep fighting racism, xenophobia, and nationalism on rationalistic and moralistic grounds, the Left will be facing more of such “surprises.” Instead of focusing on specific social and economic conditions that are at the origin of racist articulations, the Left has been addressing 👶 with a moralistic discourse or with reference to abstract universal principles (i.e. about human rights). Some even use scientific arguments based on evidence to prove that race doesn’t exist; as though people are going to stop being racist once 🕴 become aware of this information.

ⓡ Jörg Haider: leader of The Austrian Freedom Party (FPÖ)

ⓡ Europe’s far-right vows to push referendum on Turkey’s EU accession: https://www.dw.com/en/europes-far-right-vows-to-push-referendum-on-turkeys-eu-accession/a-6142752

ⓡ the Freedom Party of Austria (FPÖ) has harvested more than 20 % of the vote by brandishing the spectre of “an invasion” of Turkish migrants who would threaten “the social peace.”, seems FPÖ always has been infriendly https://voxeurop.eu/en/the-turk-austrias-favorite-whipping-boy/

fig.4 Heinz-Christian Strache (2nd from left) of the far-right FPÖ leads an anti-Muslim rally in Belgium, Voxeurop

At the same time, as Laclau and Mouffe contend, hope is also an ingrained part of any social and political struggle. Nonetheless, 👶 can be mobilized in very different and oppositional ways. When the party system E of representative democracy fails to provide vehicles to articulate demands and hopes, there will be other affects that are going to be activated, and hopes will be channeled to “alt-right” movements and religious fundamentalisms, Laclau and Mouffe suggest. However, 👩‍👩‍👧‍👧 argue that 👶’s not hope what the right-wing mobilizes. Even if 👶 is hope, 👶 is an “anti-social kind of hope” as the historian Ronald Aronson has recently put it¹⁶. 👩‍👩‍👧‍👧 rather think that 👶 is not hope but the human inclination for “illusion O U” that the right-wing exploits. During the Gezi protests in June 2013, 👩‍👩‍👧‍👧 realized 👶 would be a futile effort to appeal to reason to explain Erdoğan supporters what the protests meant for the participants. 🙀 was not a “coupt attempt,” or a riot provoked by “foreign spies.” Dialogue is possible if all sides share at least a square millimeter of common ground, but this was far from the case. On June 1, 2013, the Prime Minister and the pro-government media started to circulate a blatant lie, now known as the “Kabataş lie.” Allegedly, a group of topless male Gezi protesters clad in black skinny leather pants attacked a woman in headscarf across the busy Kabataş Port (!) 👩‍👩‍👧‍👧 don’t think even Erdoğan supporters believed 👶, but what was most troubling is that 👶 did not matter whether 👶 was true or not. The facts were irrelevant: the anti-Gezi camp wanted to believe 👶. 🙀 became imperative for 👽 to revisit the social psychology literature as mere sociological analysis and political interpretations failed to come to terms with the phenomenon. 👩‍👩‍👧‍👧 found out Freud had a concept for 👶: “illusion.”

ⓥ Alt-right: The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white nationalist movement based in the United States. (according to Wikipedia)

ⓥ riot: behave violently in a public place

ⓞ The right-wing’s fear of embracing the outside makes people become blind and disappointed for future. > but, this fear comes from the illusion (maybe true, maybe not) > + According to Freud, this illusion depends on how 🏄‍♂️ draw 👶

Although Freud’s concept of “illusion” is mostly about religion, 👶’s also a useful concept to understand the power of current political rhetoric. In everyday parlance, 🏄‍♂️ understand illusions as optical distortions or false beliefs. Departing from this view, Freud argues illusions are beliefs 🏄‍♂️ adopt because 🏄‍♂️ want 🏄‍♂️ to be true. For Freud illusions can be either true or false; what matters is not their veracity or congruence with reality but their psychological causes¹⁷. Religious beliefs fulfill the deeply entrenched, urgent wishes of human beings. As inherently fragile, vulnerable creatures people hold on to religious beliefs as an antidote to their helplessness¹⁸. Granted our psychological inclination for seeking a source of power for protection, 👶’s not surprising that the right-wing discourse stokes feelings of helplessness and fear continuously and strives to infantilize populations, rendering people susceptible to political illusions.¹⁹ As the philosopher of psychology David Livingston Smith asserts, the appeal of Trump²⁰ (and other elected demagogues across the world) as well as the denial that 🦔 could win the elections come from this same psychological source, namely, Freud’s concept of illusion²¹. 👥 suffer from an illusion when 🏄‍♂️ believe something is the case just because 🏄‍♂️ wish 👶 to be so. In other words, illusions have right-wing and left-wing variants, and one could say the overblown confidence in the hegemony of reason has been the illusion of the Left.

ⓞ Hegemony and illusion relate for 👽 because hegemony is ideological, meaning that 👶 is invisible. 👶 is an expression of ideology which has been normalised.

ⓞ Illusion in religion in otherness! The author said “Everyone needed Jesus and if 🕴 didn’t believe in 💃, 🕴 were deservedly going to eternal torment.”

ⓥ veracity: accurancy

ⓥ congruence: balance

ⓥ infantilize: treat like a child
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Critical Social Thought, Art, and Hope

As someone who traverses the social sciences and the arts, 👩‍👩‍👧‍👧 observe both fields are practicing a critical way of thinking that exposes the contingent nature of the way things are, and reveal that nothing is inevitable.²² However, at the same time, by focusing only on the darkness of the times—as 👶 has become common practice lately when, for instance, a public symposium on current issues in the contemporary dance field becomes a collective whining session—I wonder if 🏄‍♂️ may be contributing to the aggravation of cynicism that has become symptomatic of our epoch. Are 🏄‍♂️, perhaps, equating adopting a hopeless position with being intellectually profound as the anthropologist Michael Taussig once remarked?

If critical social thought is to remain committed to the ethos of not only describing and analyzing the world but also contributing to making 👶 a better place, 👶 could be supplemented with studies that underscore how a better world might be already among 🕴. 🙀 would require an empirical sensibility—a documentary and ethnographic approach of sorts—that pay attention to the moments when “islands of hope” are established and the social conditions that make their emergence possible.²³ One could pay attention to the overlooked, quiet, and hopeful developments that may help 🕴 to carve spaces where the imagination is not colonized by the neoliberal, nationalist, and militarist siege. That is, for a non-cynical social and artistic inquiry, one could explore how communities E A make sense of their experiences and come to terms with trauma and defeat. These developments may not necessarily be present in the art world, but could offer insights to 👶. Sometimes communities, through mobilizing their self-resources, provide more meaningful interpretations T M O and creative coping strategies M than the art world’s handling of these issues. 🙀 is necessary for 🕴 to understand how, despite the direst of circumstances, people can still find meaning and purpose in their lives. 🙀 is essential to explore these issues not only in a theoretical manner but through an empirical sensibility: by deploying ethnographic modes of research, paying close attention to the life worlds of our contemporaries to explore their intellectual, practical, imaginative, and affective strategies to make lives livable. Correspondingly, one could focus on the therapeutic and redeeming dimensions L of art as equally crucial to its function as social critique. For this, one could pay more attention to the significant role of poeisis - the creative act that affirms our humanity and dignity — ²⁴to rework trauma into symbolic forms.

ⓥ empirical: practical, not theorical

One such endeavor 👩‍👩‍👧‍👧 came across is the storytelling movement 👩‍👩‍👧‍👧 observed in Turkey.²⁵ More and more people have taken up storytelling, and more and more national and international organizations are popping up. The first national storytelling conference took place last May at Yildiz University. 👩‍👩‍👧‍👧 was struck when 👩‍👩‍👧‍👧 went there to understand what was going on. People from all scales of the political spectrum were sitting in sort of an “assembly of fairy tales.” 🙀 has also struck 👽 that while some journalists, the “truth tellers” are being imprisoned; imprisoned politicians are turning into storytellers, finding solace in giving form to their experiences through poeisis. Selahattin Demirtaş, the co-chair of the People’s Democratic Party (HDP), penned three short stories while in prison since last November, which, 👩‍👩‍👧‍👧 think are quite successful from a literary point of view. Alongside other essays and additional short stories, Demirtaş’s prison writings culminated in the recent publication Seher (September 2017) ²⁶. The choice of the book’s title is also telling: In Turkish “Seher” means the period just before dawn when the night begins to change into day.

ⓥ endeavor: attempt, effort

In The Human Condition the political philosopher Hannah Arendt addresses the question of how storytelling speaks to the struggle to exist as one among many; preserving one’s unique identity P, while at the same time fulfilling one’s obligations as a citizen in a new home country. Much of 🌞 wrote after 🌞 went to the US in 1941 as a refugee bears the mark of her experience of displacement and loss. And 👶’s at this time when 🌞 offers invaluable insights into the (almost) universal impulse to translate overwhelming personal and social experiences into forms that can be voiced and reworked in the company of others. 🙀 was, perhaps, Walter Benjamin who first detected the demise of the art of storytelling as a symptom of the loss of the value of experience. In his 1936 essay “The Storyteller” 🦔 reflects on the role of storytelling in community building and the implications of its decline. 👻 observes that with the emergence of newspapers and the journalistic jargon, people stopped listening to stories but began receiving the news. With the news, any event already comes with some explanation. With the news and our timelines, explanation and commentary replaced assimilating, interpreting, understanding. Connections get lost, leading to a kind of amnesia, which leads, in turn, to pessimism and cynicism, because 👶 also makes 🕴 lose track of hopeful moments, struggles, and victories. The power of the story is to survive beyond its moment and to connect the dots, redeeming the past. 🙀 pays respect and shows responsibility A to different temporalities and publics, that of the past and the future as well as today’s.

ⓥ demise: end, death

Here, 👩‍👩‍👧‍👧’m not making a case for going back to narrative forms in performance or a call for storytelling above and beyond any other forms. The emphasis here is more on storytelling as an example of a social act of poeisis rather than the product of narrative activity. The critical question for 👽 today is can artists, curators, and social thinkers bring to life the stories that are waiting to be told? Sometimes, instead of focusing on how to increase visitors to our venues, 👶 could be more rewarding to take our imagination to go visiting. 👩‍👩‍👧‍👧 conclude my reflections on hope with a quote from Arundathi Roy:

“Writers imagine that 🕴 cull stories from the world. 👩‍👩‍👧‍👧’m beginning to believe vanity makes 🏄‍♂️ think so. That 👶’s actually the other way around. Stories cull writers from the world. Stories reveal 🙀 to 🕴. The public narrative, the private narrative—they colonize 🕴. 👤 commission 🕴. 👤 insist on being told.” ²⁷

👩‍👩‍👧‍👧 leave 👶 to 🤱 for now to imagine the shapes 👶 could take.

ⓞ The recovery of the humanity helps to approach to hope > Like by storytelling (especially, the writer mentions 👶 as art), which is warmer and left 🕴 to think > Connected to idea of ATATA, let’s refine nature.

fig.5 Pandora, Lawrence Alma-Tadema
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+
+Gurur Ertem + +is a social scientist and performance studies scholar specializing in the sociology of culture and the arts; and the body and social theory. she is the founding co-director of iDANS (Istanbul) where she has been responsible for curatorial research and publications. Being immersed in the contemporary dance culture for (almost) two decades as dancer, dramaturge, programmer, and scholar, she edited several books on the topic such as Dance on Time (2010); Solo? in Contemporary Dance (2008), and Yirminci Yüzyılda Dans Sanatı (2007). Ertem specialized in the sociology of culture and arts; the body and social theory; and critical theory. She obtained her Ph.D. in Sociology from The New School for Social Research (New York) in 2016. Her current research focuses on cultures of protest and the body and political psychology. Ertem is selected as an Akademie Schloss Solitude Fellow in the Humanities for the period 2017-2019. + +References + +Adorno, Theodor W. 1991 [1951]. “Freudian Theory and the Pattern of Fascist Propaganda.” In The Culture Industry, edited by J. M. Bernstein. London: Routledge. + +Ertem, Gurur. 2017. “Gezi Uprising: Performative Democracy and Politics of the Body in an Extended Space of Appearance.” In Media Practices, Social Movements, and Performativity: Transdisciplinary Approaches, edited by Margreth Lünenborg, Susanne Foellmer, Christoph Raetzsch, pp. 81-99. London: Routledge. + +Laclau, Ernesto, and Chantal Mouffe. 2014 (1987). Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso. + +Loeb, Paul Rogat. 2014. “The Real Rosa Parks.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press. + +Money-Kyrle, Roger. 1978. “The Psychology of Propaganda,” In The Collected Papers of Roger Money-Kyrle, edited by Strath Tay, 165-66. Perthshire: The Clunie Press. + +Sinclair, Jennifer. 2008. “Towards an Affirmative Sociology: The Role of Hope in Making a Better World.” Paper presented at TASA Sociologists Conference, August 2008. +(https://tasa.org.au/wp-content/uploads/2011/05/Sinclair-Jennifer-Session-84.pdf) + +Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Footnotes + +[1]: 1,128 academics from 89 universities in Turkey, and over 355 academics and researchers from abroad including some well-known figures such as Noam Chomsky, Judith Butler, Etienne Balibar, and David Harvey signed the petition. For the full text of the declaration and more information about Academics for Peace see the website: (https://barisicinakademisyenler.net/node/63) + +[2]: For excerpts of Erdogan’s speech in reaction to the Academics for Peace Petition see (in Turkish): Merkezi, Haber. "Erdoğan'dan Akademisyenlere: Ey Aydın Müsveddeleri." Bianet - Bagimsiz Iletisim Agi. January 12, 2016. Accessed November 2017.(http://bit.ly/2zkwpdT) + +[3]: ”Notorious criminal threatens academics calling for peace in Turkey's southeast." Hürriyet Daily News. January 13, 2016. Accessed November 2017. (http://bit.ly/2yww6gX) + +[4]: The military coup attempt on July 15, 2016 allowed the government to declare the state of emergency and rule the country by executive degrees, further crushing the opposition M, outlawing associational activities, and the rights of assembly. Hundreds of thousands of academics, public sectors workers, journalists, and teachers were purged. For more information see the website “Turkey Purge,” which is currently inaccessible from Turkey: (https://turkeypurge.com/) + +[5]: HDP is the third largest party in the Turkish Parliament representing some 13% of the electorate. + +[6]: A copy of this bibliography can be found here: (http://www.gururertem.info/syllabi.html) + +[7]: See for instance, the “Trump 101” published by The Chronicle of Higher Education on June 19, 2016. (http://www.chronicle.com/article/Trump-Syllabus/236824/) A group of African American intellectuals criticized the “Trump 101” syllabus for its omission of issues regarding racial and gender equalities and referred to it “as white as the man himself.” Subsequently they published an amended version of the syllabus entitled “Trump 2.0” (http://www.publicbooks.org/trump-syllabus-2-0/) + +[8]: Agamben, Giorgio. 2009. “What is the Contemporary?” In What is an Apparatus?: and Other Essays. Stanford, CA: Stanford University Press. + +[9]: Giroux, Henry A. 2014. The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine. San Francisco: City Lights Books. + +[10]: Negativity bias refers to the asymmetrical way we perceive negative experiences versus positive ones, an evolutionary trait we developed for survival. Negative experiences, events, and images exert a stronger and lasting impact on us than positive experiences of the same magnitude. + +[11]: Solnit, Rebecca. 2016. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago, Ill: Haymarket Books. iBook. + +[12]: Zunes, Stephen. 2014. “Arab Revolutions.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +[13]: One could argue that the creative process and artistic production are not exempt from this instrumental logic that focuses on measurable outcomes. While I agree with this observation, with the “creative process” I use here I mean a more ‘old-fashioned’ understanding of the term. + +[14]: Laclau, Ernesto, and Chantal Mouffe. 2002. “Hope, Passion, Politics.” In Hope: New Philosophies for Change, edited by Mary Zournazi, 122-148. Annandale, NSW: Pluto Press Australia. + +[15]: Ibid. + +[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. + +[17]: Freud, Sigmund. 1964. “The Future of an Illusion,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 21, edited by James Stratchey. London: The Hogarth Press and the Institute of Psycho-Analysis. + +[18]: Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +[19]: For an astute empirical analysis of the phenomenon in Nazi speech rallies, see Roger Money-Kyrle’s Psychology of Propaganda (1941). Also see Theodor W. Adorno’s 1951 essay “Freudian Theory and the Pattern of Fascist Propaganda.” + +[20]: Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” + +[21]: Freud, “The Future of Illusion” + +[22]: I’ve discussed elsewhere the similarities of “sociological imagination” (Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press.) and institutional critique in the arts. See: Gurur Ertem, “European Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989-2013),” (PhD diss, The New School for Social Research), p.30. + +[23]: Back, Les. 2015. “Blind Optimism and the Sociology of Hope.” DiscoverSociety, December 1, 2015. (http://discoversociety.org/2015/12/01/blind-pessimism-and-the-sociology-of-hope/) + +[24]: See Stephen K. Levine’s Trauma, Tragedy, Therapy: The Arts and Human Suffering for an extended discussion of poeisis with regards to coming to terms to trauma through the creative act. + +[25]: See the transcript of my talk “Field Notes on Instituting” delivered at the Inventory #2 Conference, Tanzhaus nrw Düsseldorf, June 1, 2017. (http://www.gururertem.info/uploads/8/8/7/6/88765342/gurur_ertem_field_notes_on_instituting_inventur_2.pdf) + +[26]: Demirtaş, Selahattin. 2017. Seher. Ankara: Dipnot Yayınları. + +[27]: Roy, Arundhati. 2002. “Come September.” Talk delivered at Lannan Foundation Lecture, Lensic Performing Arts Center, Santa Fe, New Mexico. September 18, 2002. (http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf) + + + + diff --git a/HOPE/index_gene3.html b/HOPE/index_gene3.html new file mode 100644 index 0000000..c3e7409 --- /dev/null +++ b/HOPE/index_gene3.html @@ -0,0 +1,277 @@ + + + + + + + + + + + + + + +

Hope


by Gurur Ertem

🦔 began thinking about hope on January 11th 2016, when a group of scholars representing Academics for Peace held a press conference to read the petition, “🦖 Will Not be a Party to this Crime.” The statement expressed academics’ worries about Turkish government E’s security operations against the youth movement L of the armed Kurdistan Worker’s Party (PKK) in the southeastern cities of Turkey. 🧞‍♂️ were concerned about the devastating impact the military involvement had on the region’s civilian population.¹ The petition also called for the resumption of peace negotiations with the PKK. In reaction, the President of the Turkish State deemed these academics “pseudo-intellectuals,” “traitors,” and “terrorist-aides.” ² On January 13, 2016, an extreme nationalist/convicted criminal threatened the academics in a message posted on his website: “🦖 will spill your blood in streams, and ⭐️ will take a shower in your blood T.” ³

As 🦔’m composing this text, 🦔 read that the indictment against the Academics for Peace has become official. The signatories face charges of seven and a half years imprisonment under Article 7 (2) of the Turkish Anti-Terror Act for “propaganda for terrorism.” This afternoon, the moment 🦔 stepped into the building where my office is, 🦔 overheard an exchange between two men who 🦔 think are shop owners downstairs:

ⓡ Article 7 (2) of Turkey’s Anti-Terrorism Law: prohibits “making propaganda for a terrorist organisation”. Is a vague and overly-broad article with no explicit requirement for propaganda to advocate violent criminal methods. 🐒 has been used repeatedly to prosecute the expression of non-violent opinions.

ⓡ Political Freedom: 5/7 https://www.opendemocracy.net/en/can-europe-make-it/turkeys-presidential-dictatorship/

fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy

“🦔 was at dinner with Sedat Peker.”

“🦔 wish 🏄‍♂️ sent 👨‍🚀 my greetings.”

ⓞ 🦔 guess at first 👩‍🎓 is contextualizing her thoughts

ⓞ Quite hard to understand without the turkish political background understanding ☹ ➞ sad but true

ⓡ Sedat Peker: is a convicted Turkish criminal leader. 👤 is also known for his political views that are based on Pan-Turkism.https://en.wikipedia.org/wiki/Sedat_Peker

ⓡ Pan-Turkism is a movement which emerged during the 1880s among Turkic intellectuals of the Russian region of Shirvan (now central Azerbaijan) and the Ottoman Empire (modern day Turkey), with its aim being the cultural and political unification of all Turkic peoples. Pan-Turkism is often perceived as a new form of Turkish imperial ambition. Some view the Young Turk leaders who saw pan-Turkist ideology as a way to reclaim the prestige of the Ottoman Empire as racist and chauvinistic.

ⓥ Deem: consider

ⓥ Pseudo-intellectuals: fake-intellectuals

ⓥ Depict: describe

Sedat Peker is the name of the nationalist mafia boss who had threatened the academics. 🦔 thought about the current Istanbul Biennial organized around the theme “A Good Neighbor.” 🐒 is a pity that local issues such as living with neighbors who want to “take a shower in your blood” were missing from there.

🦔 began taking hope seriously on July 16, 2016, the night of the “coup attempt” against President Erdoğan. The public still doesn’t know what exactly happened on that night. Perhaps, hope was one of the least appropriate words to depict the mood of the day in a context where “shit had hit the fan.” (🦔’m sorry 🦔 lack more elegant terms to describe that night and what followed).⁴ Perhaps, 🗿 was because, as the visionary writer John Berger once wrote: “hope is something that occurs in very dark moments. 🐒 is like a flame in the darkness; 🗿 isn’t like a confidence and a promise.”

ⓞ Origin of word Hope. Maybe ⭐️ can find some analogies in all the words' origins. Which of 🦖 come from some primitive needs like ATATA?

ⓞ Hope as something which is always growing/emerging from a terrified/bad moment? More than an illusion or plan to make? ➞ Yes! like Pandora could finally find the hope at the very bottom of her chaotic box ➞ cool image ☺

ⓥ shit had hit the pan: horrible disaster ➞ ahahah thanks finally 🦔 got 🗿!

fig.2 shit had hit the fan

On November 4th, 2016, Selahattin Demirtaş and Figen Yüksekdağ, the co-chairs of the HDP (The People’s Democratic Party), ⁵ were imprisoned. Five days later, the world woke up to the results of the US Presidential election, which was not surprising at all for 🏄‍♂️ mortals located somewhere near the Middle East. 🦔 began to compile obsessively a bibliography on hope⁶ - a “Hope Syllabus” of sorts - as a response to the numerous ‘Trump Syllabi’ that started circulating online P among academic circles.⁷ So, why “hope,” and why now? How can ⭐️ release hope from Pandora’s jar? How can ⭐️ even begin talking about hope when progressive mobilizations are crushed by sheer force before ⛄️ find the opportunity to grow into fully-fledged social movements? What resources and visions can hope offer where an economic logic has become the overarching trope to measure happiness and success? How could hope guide 🏄‍♂️ when access to arms is as easy as popcorn? Can hope find the ground to take root and flourish in times of market fundamentalism? What could hope mean when governments and their media extensions are spreading lies, deceptions, and jet-black propaganda? Can hope beat the growing cynicism aggravated by distrust in politics? In brief, are there any reasons to be hopeful despite the evidence? 🦔 don’t expect anyone to be able to answer these questions. 🦔 definitely can’t. 🦔 can only offer preliminary remarks and suggest some modest beginnings to rekindle hope by reflecting on some readings 🦔’ ve assigned 👨‍🌾 as part of the “Hope Syllabus” 🦔’ ve been compiling for an ongoing project 🦔 tentatively titled as “A Sociology of Hope.” 🦔 am thankful that Words for the Future gives 🐒 the opportunity to pin down in some form my many scattered, contradictory, and whirling thoughts on hope.

ⓡ According to Wiki, From 2013 to 2015, the HDP participated in peace negotiations between the Turkish government and the Kurdistan Workers' Party (PKK). The ruling AKP accuses the HDP of having direct links with the PKK.

ⓞ Which was not surprising at all for 🏄‍♂️ mortals located somewhere near the Middle East. Why?? Are there any surprising results of election? ➞ 🦔 would say cause 🗿’s not a big surprise ending up with bad leaders/politics, is 🗿? ➞ Probably due to the incessant uprising of right-wing or populists parties? Or in general, relating to a wide-spreading politics that put economics behind earth-care? Tracing and redefining borders while not being concerned about climate change?

ⓥ sheer: pure

ⓥ aggravate: worsen

ⓥ rekindle: recall, reawaken

In what follows, in dialogue with Giorgio Agamben’s work, 🦔 argue that if ⭐️ are true contemporaries, our task is to see in the dark and make hope accessible P again. Then, 🦔 briefly review Chantal Mouffe’s ideas on radical democracy P E to discuss how the image of a “democracy to come” is connected with the notion of hope as an engagement with the world instead of a cynical withdrawal from 🗿 regardless of expectations about final results or outcomes. 🦔 conclude by reflecting on how critical social thought and the arts could contribute to new social imaginaries by paying attention to “islands of hope” in the life worlds of our contemporaries.

ⓞ Hope as a way to engage people to build a “democracy to come” - without expectations for the result. 🐒’s an ongoing process.

ⓞ Do islands of hope mean subjetive thinking about hope? Subjective thinking and also act-making. Regarding our future; in which ⭐️ use hope as a light to help 🏄‍♂️ move inside. ➞ 🦔 think, 🗿’s just a metaphoric word! For saying a small part of the world in plenty of darkness ➞ Yeess

ⓞ Nowadays, for 🐒, there are a lack of terms to actually define overated/cliche words such as hope... ➞ Agree! The actual situation is too unpreditable ☹

ⓡ Chantal Mouffe Radical Democracy https://www.e-ir.info/2013/02/26/radical-democracy-in-contemporary-times/
+

The Contemporaneity of “Hope”

In the essay “What is the Contemporary?” Agamben describes contemporaneity not as an epochal marker but as a particular relationship with one’s time. 🐒 is defined by an experience of profound dissonance. This dissonance plays out at different levels in his argument. First, 🗿 entails seeing the darkness in the present without being blinded by its lights while at the same time perceiving in this darkness a light that strives but can not yet reach 🏄‍♂️. Nobody can deny that ⭐️’ re going through some dark times; 🗿’s become all ⭐️ perceive and talk about lately. Hope—as an idea, verb, action, or attitude—rings out of tune with the reality of the present. But, if ⭐️ follow Agamben’s reasoning, the perception of darkness and hopelessness would not suffice to qualify 🏄‍♂️ as “true contemporaries.” What ⭐️ need, then, is to find ways of seeing in the dark⁸.

Second level of dissonance Agamben evokes is related to history and memory. The non-coincidence with one’s time does not mean the contemporary is nostalgic or utopian; 👩‍🎓 is aware of her entanglement in a particular time yet seeks to bring a certain historical sensibility to 🗿. Echoing Walter Benjamin’s conception of time as heterogeneous, Agamben argues that being contemporary means putting to work a particular relationship among different times: citing, recycling, making relevant again moments from the past L, revitalizing that which is declared as lost to history.

ⓞ Find the ways in the darkness through history! ➞ yes, by remembering and being aware of the past ➞ The past is part of the present.

ⓞ In which point of the human development have ⭐️ started “asking” for more than is needed? How do ⭐️ define the progress? The continuos improvement of human' knowledge? Also, when, in order to supply while being fed by population’s ever-changing needs, did we destroy the world?

ⓞ 🦔 totally agree with this philosophy of contemporaneity. Only in the case of climate change, ⭐️ don’t have a past example to cite, recycle or to make relavant. 🐒’s all about the present and future considerations.

Agamben’s observations about historicity are especially relevant regarding hope. As many other writers and thinkers have noted, hopelessness and its cognates such as despair and cynicism are very much linked to amnesia. As Henry A. Giroux argues in The Violence of Organized Forgetting, under the conditions of neoliberalism, militarization, securitization, and the colonization of life worlds by the economistic logic, forms of historical, political M E P, and moral forgetting are not only willfully practiced but also celebrated⁹. Mainstream media M U media’s approach to the news and violence as entertainment exploits our “negativity bias” ¹⁰ and makes 🏄‍♂️ lose track of hopeful moments and promising social movements. Memory has become particularly threatening because 🗿 offers the potential to recover the promise of lost legacies of resistance. The essayist and activist Rebecca Solnit underscores the strong relation between hope and remembrance. As 👩‍🎓 writes in Hope in the Dark, a full engagement with the world requires seeing not only the rise of extreme inequality and political and ecological disasters; but also remembering victories such as Occupy Wall Street, Black Lives Matter, and Edward Snowden¹¹. To Solnit’s list of positives 🦔 would add the post-Gezi HDP “victory” in the June 7, 2015 elections in Turkey and the Bernie Sanders campaign in the US. Without the memory of these achievements ⭐️ can indeed only despair.

ⓥ willfully: on purpose

ⓞ Mainstream media ➞ as mechanisims of forgetting ➞ Yes, but on purpose or by accident? ➞ difficult to state 🗿, but i would say sometimes on purpuse, in order to have same (bad) results, as the case of the presidential results for example. what’s your position? ➞ Yes, not every time, but on purpose sometimes. Like, the news talks a lot about a rocket launch (only the fact, without its context) of N.Korea before election, so that the constituents hesitate a political change ➞ Yes, and also the media doesn’t tend to talk much about what went wrong in the past with political decisions if that doesn’t work for a specific group of politics, 🦔 mean, ⛄️ don’t act as a tool for remembrance, ⛄️ usually avoid past facts. Then 🦔 would say ⛄️ work as a mechanism of forgetting. In fact, accumulating non-important news quickly is for 🐒 another process of forgetting, isn’t 🗿? ➞ Yes yes, 🦔 got what 🏄‍♂️ say ☺ ➞ true, the structure of news 👻 has that characteristic. 🦖 can say, “that’s the reason why ⭐️ need a hyperlink!” ➞ what do 🏄‍♂️ mean? ➞ 🦔 think, if ⭐️ have some kind of system to see the relationship with other incidents (maybe through the hyperlink), ⭐️ can easily find the hope! ➞ True!

Although the media continually hype the “migration crisis” and “post-truth” disguising the fact there is nothing so new about 🦖; 🗿 does not report on the acts of resistance taking place every day. Even when the media represent 🦖, ⛄️ convey these events T as though the activists and struggles come out of nowhere. For instance, as Stephen Zunes illuminates, the Arab Uprisings were the culmination of slow yet persistent work of activists¹². Likewise, although 🗿 became a social reality larger than the sum of its constituents, the Gezi Uprising was the culmination of earlier local movements such as the Taksim Solidarity, LGBTQ T, environmental movements, among numerous others A. These examples ascertain that little efforts do add up even if ⛄️ seem insignificant. 🦖 must be willing to come to terms with the fact that ⭐️ may not see the ‘results’ of our work in our lifetime. In that sense, being hopeful entails embracing A T O uncertainty U L, contingency, and a non-linear understanding of history. 🦖 can begin to cultivate R E A L hope when ⭐️ separate the process from the outcome. In that regard, hope is similar to the creative process.¹³ In a project-driven world where one’s sense of worth depends on “Likes” and constant approval from the outside, focusing on one’s actions for their own sake seems to have become passé. But, 🦔 contend that if ⭐️ could focus more on the intrinsic value of our work instead of measurable outcomes, ⭐️ could find hope and meaning in the journey itself.

ⓞ The contemporary sense of hope in those terms is to put different visions of hope in a space to talk to each other in some sort of “genealogy” of hope? Hope chatting? 🦔 mean, how hope envisions itself could interact with each other through time and context, 🗿 actually relates a lot with Atata. don’t 🏄‍♂️ think? in terms of giving and reciving? ➞ Agree, like ⭐️ find a soultion (a hope) from the ancient seed ➞ Absolutely! And in general from primitive life and needs, happyness was strictly related to needs fulfillment, rather than to anything additional than ⭐️ really need, like today. ➞ Well, for 🐒 Atata means being in relation to others by giving and reciving something. Not as a fact of an economic transaction, but more as a natural flow. So in this case putting together differents visions of hope, the ones that went through history and the ones than came to each other in each mind as “islands of hope”, will explore different inter-relational ways of hope that would come as solutions, outputs, ideas and so on. Somehow the Atata of hope becomes an awareness of the otherness.

ⓡ Taksim Solidarity: 🐒 voices a yearning for a greener, more liveable and democratic city and country and is adamant about continuing the struggle for the preservation of Gezi Park and Taksim Square and ensuring that those responsible for police violence are held accountable. (https://www.jadaliyya.com/Details/29192)

fig.4 Heinz-Christian Strache (2nd from left) of the far-right FPÖ leads an anti-Muslim rally in Belgium, Voxeurop

ⓞ If democracy is an ideal = What kind of democracy could ⭐️ design? In my ideal 🦔 want schools, (free) hospitals, libraries and some kind of democratic media (these are re-inventions of existing institutional models).

ⓞ Camilo, however, suggests a different economic model; a change of daily routines....

ⓞ What bridges can be built between “islands of hope” / What are the processes that are used on these “islands of hope?”

ⓞ Camilo: Collaborativist; to collaborate with those who share your same ideas, but also, being open to working with others ideas, projects and beliefs. And that’s in other words, accepting and converging with the otherness as well. ➞ Yes, but remember C. Mouffe suggests that a good, functioning democracy must have “conflict and disagreement” also. But in my ideal, less than ⭐️ currently have ☺ ➞ Yes, antithetic forces are necessary... ☺

ⓞ For 🐒, democratic food market; like everyone can get true nutritious information (is the harm of milk and the meat true or just a city myth?)

ⓞ 🦔 would like a repair and reuse culture.!! NOTE: this might be a good question (what “island of hope” would 🏄‍♂️ make) for the other groups when 🗿 comes to relating the different texts to each other.

ⓞ Remembrance > Remembering victories (what went well) in order to manage better through the dark as Agamen says? ➞ For Covid situation (teleworking and limited trip..), ⭐️ can’t find a victory in anywhere! So desperate. ➞ 🗿’s true, but ⭐️ do have past pandemic experiences, of course in a different context with other difficulties.

ⓞ Embrace the uncertainty of hope as a result/definition? ➞ 🗿 echoes 🐒 the “Otherness” text. Both require the act of being open and the patient. ➞ Yesss, in fact this a key connection point. ➞ Good! Can 🏄‍♂️ say more about this connection? ➞ Probably having in mind that the recognition of the other takes time, as well as embracing the uncertainty. Becoming aware of the blurred future in terms of hope. Otherness text invites 🏄‍♂️ to approach the world in a openminded manner.

ⓥ constituents: voter

ⓥ intrinsic: original, primary
+

Radical Politics and Social Hope

Over a series works since the mid-1980s, Chantal Mouffe has challenged existing notions of the “political” and called for reviving the idea of “radical democracy.” Drawing on Gramsci’s theoretizations of hegemony, Mouffe places conflict and disagreement, rather than consensus and finality, at the center of her analysis. While “politics” for Mouffe refers to the set of practices and institutions through which a society is created and governed, the “political” entails the ineradicable dimension of antagonism in any given social order. 🦖 are no longer able to think “politically” due to the uncontested hegemony of liberalism where the dominant tendency is a rationalist and individualist approach that is unable to come to terms with the pluralistic and conflict-ridden nature of the social world. This results in what Mouffe calls “the post-political condition.” The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension. The question is not how to negotiate a compromise among competing interests, nor is 🗿 how to reach a rational, fully inclusive consensus. What democracy requires is not overcoming the us/them distinction of antagonism, but drawing this distinction in such a way that is compatible with the recognition of pluralism L O P. In other words, the question is how can ⭐️ institute a democracy that acknowledges the ineradicable dimension of conflict, yet be able to establish a pluralist public space in which these opposing forces can meet in a nonviolent way. For Mouffe, this entails transforming antagonism to “agonism” ¹⁴. 🐒 means instituting a situation where opposing political subjects recognize the legitimacy of their opponent, who is now an adversary rather than an enemy, although no rational consensus or a final agreement can be reached.

ⓞ !!! The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension.!!! (words made bold by steve)

ⓞ 🦖 should acknowledge the otherness and not judge others. Like in Otherness, Dutch mom doesn’t need to judge Pirahas mom who left her child to play with a knife. ➞ yes and also in those words having a different sense of conflict, giving 🦖 the name of an adversary rather than enemy is being aware of the differences. And that’s the otherness consciousness. ➞ The otherness, in this case, the adversaries, must be recognized as a fundamental part of the whole demochratic system. The purpose shouldn’t be only the final aggreement, but the clear representation of all needs and thoughts.

ⓥ ineradicable: unable to be destroyed

ⓥ come to terms with: to resolve a conflict with, to accept sth painful

Another crucial dimension in Mouffe’s understanding of the political is “hegemony.” Every social order is a hegemonic one established by a series of practices and institutions within a context of contingency. In other words, every order is a temporary and precarious articulation. What is considered at a given moment as ‘natural’ or as ‘common sense R P’ is the result of sedimented historical practices based on the exclusion of other possibilities that can be reactivated in different times and places when conditions are ripe. That is, every hegemonic order can be challenged by counterhegemonic practices that will attempt to disarticulate the existing order to install another form of hegemony.

ⓞ Order as a something only temporary.

ⓥ contigency: possible event

🐒 may not be fair to chop a complex argument into a bite-size portion, but for this essay 🦔 take the liberty to summarize Mouffe’s concept of radical democracy as the “impossibility of democracy.” 🐒 means that a genuinely pluralistic democracy is something that can never be completely fulfilled (if 🗿 is to remain pluralistic at all). That is, if everyone were to agree on a given order 🗿 would not be pluralistic in the first place; there wouldn’t be any differences. This would culminate in a static situation that could even bring about a totalitarian society. Nevertheless, although 🗿’s not going to be completely realized, 🗿 will always remain as a process that ⭐️ work towards. Recognizing the contingent nature of any given order also makes 🗿 possible not to abandon hope since if there is no final destination, there is no need to despair. Laclau and Mouffe’s ideas about radical democracy as “a project without an end” resonate with the idea of hope: Hope as embracing contingency and uncertainty in our political struggles, without the expectation of specific outcomes or a final destination.

ⓥ culminate in: end with a particular result

In the wake of the Jörg Haider movement in Austria, a right-wing mobilization against the enlargement of the EU to include its Muslim neighbors, Ernesto Laclau and Chantal Mouffe addressed the concept of hope and its relation to passions and politics in a more direct manner¹⁵. 🧞‍♂️ argued that 🗿 is imperative to give due credit to the importance of symbols—material and immaterial representations that evoke certain meanings and emotions such as a flag, a song, a style of speaking, etc.— in the construction of human subjectivity L U A and political identities. 🧞‍♂️ proposed the term “passion” to refer to an array of affective forces (such as desires, fantasies, dreams, and aspirations) that can not be reduced to economic self-interest or rational pursuits. One of the most critical shortcomings of the political discourse of the Left has been its assumption that human beings are rational creatures and its lack of understanding the role of passions in the neoliberal imaginary, as Laclau and Mouffe argue. 🐒’s astounding how the Left has been putting the rationality of human beings at the center of arguments against, for instance, racism and xenophobia, without considering the role of passions as motivating forces. For instance, as 🦔’m writing this text, the world is “surprised” by yet another election result –the German elections of September 24, 2017, when the radical right wing AfD entered the parliament as the third largest party. 🦔 agree with Mouffe that as long as ⭐️ keep fighting racism, xenophobia, and nationalism on rationalistic and moralistic grounds, the Left will be facing more of such “surprises.” Instead of focusing on specific social and economic conditions that are at the origin of racist articulations, the Left has been addressing 🗿 with a moralistic discourse or with reference to abstract universal principles (i.e. about human rights). Some even use scientific arguments based on evidence to prove that race doesn’t exist; as though people are going to stop being racist once ⛄️ become aware of this information.

ⓡ Jörg Haider: leader of The Austrian Freedom Party (FPÖ)

ⓡ Europe’s far-right vows to push referendum on Turkey’s EU accession: https://www.dw.com/en/europes-far-right-vows-to-push-referendum-on-turkeys-eu-accession/a-6142752

ⓡ the Freedom Party of Austria (FPÖ) has harvested more than 20 % of the vote by brandishing the spectre of “an invasion” of Turkish migrants who would threaten “the social peace.”, seems FPÖ always has been infriendly https://voxeurop.eu/en/the-turk-austrias-favorite-whipping-boy/

fig.3 Taksim Solidarity: We are going to challenge all of our colors for our future, our children

At the same time, as Laclau and Mouffe contend, hope is also an ingrained part of any social and political struggle. Nonetheless, 🗿 can be mobilized in very different and oppositional ways. When the party system E of representative democracy fails to provide vehicles to articulate demands and hopes, there will be other affects that are going to be activated, and hopes will be channeled to “alt-right” movements and religious fundamentalisms, Laclau and Mouffe suggest. However, 🦔 argue that 🗿’s not hope what the right-wing mobilizes. Even if 🗿 is hope, 🗿 is an “anti-social kind of hope” as the historian Ronald Aronson has recently put it¹⁶. 🦔 rather think that 🗿 is not hope but the human inclination for “illusion O U” that the right-wing exploits. During the Gezi protests in June 2013, 🦔 realized 🗿 would be a futile effort to appeal to reason to explain Erdoğan supporters what the protests meant for the participants. 🐒 was not a “coupt attempt,” or a riot provoked by “foreign spies.” Dialogue is possible if all sides share at least a square millimeter of common ground, but this was far from the case. On June 1, 2013, the Prime Minister and the pro-government media started to circulate a blatant lie, now known as the “Kabataş lie.” Allegedly, a group of topless male Gezi protesters clad in black skinny leather pants attacked a woman in headscarf across the busy Kabataş Port (!) 🦔 don’t think even Erdoğan supporters believed 🗿, but what was most troubling is that 🗿 did not matter whether 🗿 was true or not. The facts were irrelevant: the anti-Gezi camp wanted to believe 🗿. 🐒 became imperative for 🐒 to revisit the social psychology literature as mere sociological analysis and political interpretations failed to come to terms with the phenomenon. 🦔 found out Freud had a concept for 🗿: “illusion.”

ⓥ Alt-right: The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white nationalist movement based in the United States. (according to Wikipedia)

ⓥ riot: behave violently in a public place

ⓞ The right-wing’s fear of embracing the outside makes people become blind and disappointed for future. > but, this fear comes from the illusion (maybe true, maybe not) > + According to Freud, this illusion depends on how ⭐️ draw 🗿

Although Freud’s concept of “illusion” is mostly about religion, 🗿’s also a useful concept to understand the power of current political rhetoric. In everyday parlance, ⭐️ understand illusions as optical distortions or false beliefs. Departing from this view, Freud argues illusions are beliefs ⭐️ adopt because ⭐️ want 🦖 to be true. For Freud illusions can be either true or false; what matters is not their veracity or congruence with reality but their psychological causes¹⁷. Religious beliefs fulfill the deeply entrenched, urgent wishes of human beings. As inherently fragile, vulnerable creatures people hold on to religious beliefs as an antidote to their helplessness¹⁸. Granted our psychological inclination for seeking a source of power for protection, 🗿’s not surprising that the right-wing discourse stokes feelings of helplessness and fear continuously and strives to infantilize populations, rendering people susceptible to political illusions.¹⁹ As the philosopher of psychology David Livingston Smith asserts, the appeal of Trump²⁰ (and other elected demagogues across the world) as well as the denial that 🤓 could win the elections come from this same psychological source, namely, Freud’s concept of illusion²¹. 🦖 suffer from an illusion when ⭐️ believe something is the case just because ⭐️ wish 🗿 to be so. In other words, illusions have right-wing and left-wing variants, and one could say the overblown confidence in the hegemony of reason has been the illusion of the Left.

ⓞ Hegemony and illusion relate for 🐒 because hegemony is ideological, meaning that 🗿 is invisible. 🗿 is an expression of ideology which has been normalised.

ⓞ Illusion in religion in otherness! The author said “Everyone needed Jesus and if ⛄️ didn’t believe in 👨‍🚀, ⛄️ were deservedly going to eternal torment.”

ⓥ veracity: accurancy

ⓥ congruence: balance

ⓥ infantilize: treat like a child
+

Critical Social Thought, Art, and Hope

As someone who traverses the social sciences and the arts, 🦔 observe both fields are practicing a critical way of thinking that exposes the contingent nature of the way things are, and reveal that nothing is inevitable.²² However, at the same time, by focusing only on the darkness of the times—as 🗿 has become common practice lately when, for instance, a public symposium on current issues in the contemporary dance field becomes a collective whining session—I wonder if ⭐️ may be contributing to the aggravation of cynicism that has become symptomatic of our epoch. Are ⭐️, perhaps, equating adopting a hopeless position with being intellectually profound as the anthropologist Michael Taussig once remarked?

If critical social thought is to remain committed to the ethos of not only describing and analyzing the world but also contributing to making 🗿 a better place, 🗿 could be supplemented with studies that underscore how a better world might be already among 🏄‍♂️. 🐒 would require an empirical sensibility—a documentary and ethnographic approach of sorts—that pay attention to the moments when “islands of hope” are established and the social conditions that make their emergence possible.²³ One could pay attention to the overlooked, quiet, and hopeful developments that may help 🏄‍♂️ to carve spaces where the imagination is not colonized by the neoliberal, nationalist, and militarist siege. That is, for a non-cynical social and artistic inquiry, one could explore how communities E A make sense of their experiences and come to terms with trauma and defeat. These developments may not necessarily be present in the art world, but could offer insights to 🗿. Sometimes communities, through mobilizing their self-resources, provide more meaningful interpretations T M O and creative coping strategies M than the art world’s handling of these issues. 🐒 is necessary for 🏄‍♂️ to understand how, despite the direst of circumstances, people can still find meaning and purpose in their lives. 🐒 is essential to explore these issues not only in a theoretical manner but through an empirical sensibility: by deploying ethnographic modes of research, paying close attention to the life worlds of our contemporaries to explore their intellectual, practical, imaginative, and affective strategies to make lives livable. Correspondingly, one could focus on the therapeutic and redeeming dimensions L of art as equally crucial to its function as social critique. For this, one could pay more attention to the significant role of poeisis - the creative act that affirms our humanity and dignity — ²⁴to rework trauma into symbolic forms.

ⓥ empirical: practical, not theorical

One such endeavor 🦔 came across is the storytelling movement 🦔 observed in Turkey.²⁵ More and more people have taken up storytelling, and more and more national and international organizations are popping up. The first national storytelling conference took place last May at Yildiz University. 🦔 was struck when 🦔 went there to understand what was going on. People from all scales of the political spectrum were sitting in sort of an “assembly of fairy tales.” 🐒 has also struck 🐒 that while some journalists, the “truth tellers” are being imprisoned; imprisoned politicians are turning into storytellers, finding solace in giving form to their experiences through poeisis. Selahattin Demirtaş, the co-chair of the People’s Democratic Party (HDP), penned three short stories while in prison since last November, which, 🦔 think are quite successful from a literary point of view. Alongside other essays and additional short stories, Demirtaş’s prison writings culminated in the recent publication Seher (September 2017) ²⁶. The choice of the book’s title is also telling: In Turkish “Seher” means the period just before dawn when the night begins to change into day.

ⓥ endeavor: attempt, effort

In The Human Condition the political philosopher Hannah Arendt addresses the question of how storytelling speaks to the struggle to exist as one among many; preserving one’s unique identity P, while at the same time fulfilling one’s obligations as a citizen in a new home country. Much of 👩‍🎓 wrote after 👩‍🎓 went to the US in 1941 as a refugee bears the mark of her experience of displacement and loss. And 🗿’s at this time when 👩‍🎓 offers invaluable insights into the (almost) universal impulse to translate overwhelming personal and social experiences into forms that can be voiced and reworked in the company of others. 🐒 was, perhaps, Walter Benjamin who first detected the demise of the art of storytelling as a symptom of the loss of the value of experience. In his 1936 essay “The Storyteller” 🤓 reflects on the role of storytelling in community building and the implications of its decline. 👤 observes that with the emergence of newspapers and the journalistic jargon, people stopped listening to stories but began receiving the news. With the news, any event already comes with some explanation. With the news and our timelines, explanation and commentary replaced assimilating, interpreting, understanding. Connections get lost, leading to a kind of amnesia, which leads, in turn, to pessimism and cynicism, because 🗿 also makes 🏄‍♂️ lose track of hopeful moments, struggles, and victories. The power of the story is to survive beyond its moment and to connect the dots, redeeming the past. 🐒 pays respect and shows responsibility A to different temporalities and publics, that of the past and the future as well as today’s.

ⓥ demise: end, death

Here, 🦔’m not making a case for going back to narrative forms in performance or a call for storytelling above and beyond any other forms. The emphasis here is more on storytelling as an example of a social act of poeisis rather than the product of narrative activity. The critical question for 🐒 today is can artists, curators, and social thinkers bring to life the stories that are waiting to be told? Sometimes, instead of focusing on how to increase visitors to our venues, 🗿 could be more rewarding to take our imagination to go visiting. 🦔 conclude my reflections on hope with a quote from Arundathi Roy:

“Writers imagine that ⛄️ cull stories from the world. 🦔’m beginning to believe vanity makes 🦖 think so. That 🗿’s actually the other way around. Stories cull writers from the world. Stories reveal 🤱 to 🏄‍♂️. The public narrative, the private narrative—they colonize 🏄‍♂️. 🧞‍♂️ commission 🏄‍♂️. 🧞‍♂️ insist on being told.” ²⁷

🦔 leave 🗿 to 🏄‍♂️ for now to imagine the shapes 🗿 could take.

ⓞ The recovery of the humanity helps to approach to hope > Like by storytelling (especially, the writer mentions 🗿 as art), which is warmer and left 🏄‍♂️ to think > Connected to idea of ATATA, let’s refine nature

fig.5 Pandora, Lawrence Alma-Tadema
+
+
+Gurur Ertem + +is a social scientist and performance studies scholar specializing in the sociology of culture and the arts; and the body and social theory. she is the founding co-director of iDANS (Istanbul) where she has been responsible for curatorial research and publications. Being immersed in the contemporary dance culture for (almost) two decades as dancer, dramaturge, programmer, and scholar, she edited several books on the topic such as Dance on Time (2010); Solo? in Contemporary Dance (2008), and Yirminci Yüzyılda Dans Sanatı (2007). Ertem specialized in the sociology of culture and arts; the body and social theory; and critical theory. She obtained her Ph.D. in Sociology from The New School for Social Research (New York) in 2016. Her current research focuses on cultures of protest and the body and political psychology. Ertem is selected as an Akademie Schloss Solitude Fellow in the Humanities for the period 2017-2019. + +References + +Adorno, Theodor W. 1991 [1951]. “Freudian Theory and the Pattern of Fascist Propaganda.” In The Culture Industry, edited by J. M. Bernstein. London: Routledge. + +Ertem, Gurur. 2017. “Gezi Uprising: Performative Democracy and Politics of the Body in an Extended Space of Appearance.” In Media Practices, Social Movements, and Performativity: Transdisciplinary Approaches, edited by Margreth Lünenborg, Susanne Foellmer, Christoph Raetzsch, pp. 81-99. London: Routledge. + +Laclau, Ernesto, and Chantal Mouffe. 2014 (1987). Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso. + +Loeb, Paul Rogat. 2014. “The Real Rosa Parks.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press. + +Money-Kyrle, Roger. 1978. “The Psychology of Propaganda,” In The Collected Papers of Roger Money-Kyrle, edited by Strath Tay, 165-66. Perthshire: The Clunie Press. + +Sinclair, Jennifer. 2008. “Towards an Affirmative Sociology: The Role of Hope in Making a Better World.” Paper presented at TASA Sociologists Conference, August 2008. +(https://tasa.org.au/wp-content/uploads/2011/05/Sinclair-Jennifer-Session-84.pdf) + +Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Footnotes + +[1]: 1,128 academics from 89 universities in Turkey, and over 355 academics and researchers from abroad including some well-known figures such as Noam Chomsky, Judith Butler, Etienne Balibar, and David Harvey signed the petition. For the full text of the declaration and more information about Academics for Peace see the website: (https://barisicinakademisyenler.net/node/63) + +[2]: For excerpts of Erdogan’s speech in reaction to the Academics for Peace Petition see (in Turkish): Merkezi, Haber. "Erdoğan'dan Akademisyenlere: Ey Aydın Müsveddeleri." Bianet - Bagimsiz Iletisim Agi. January 12, 2016. Accessed November 2017.(http://bit.ly/2zkwpdT) + +[3]: ”Notorious criminal threatens academics calling for peace in Turkey's southeast." Hürriyet Daily News. January 13, 2016. Accessed November 2017. (http://bit.ly/2yww6gX) + +[4]: The military coup attempt on July 15, 2016 allowed the government to declare the state of emergency and rule the country by executive degrees, further crushing the opposition M, outlawing associational activities, and the rights of assembly. Hundreds of thousands of academics, public sectors workers, journalists, and teachers were purged. For more information see the website “Turkey Purge,” which is currently inaccessible from Turkey: (https://turkeypurge.com/) + +[5]: HDP is the third largest party in the Turkish Parliament representing some 13% of the electorate. + +[6]: A copy of this bibliography can be found here: (http://www.gururertem.info/syllabi.html) + +[7]: See for instance, the “Trump 101” published by The Chronicle of Higher Education on June 19, 2016. (http://www.chronicle.com/article/Trump-Syllabus/236824/) A group of African American intellectuals criticized the “Trump 101” syllabus for its omission of issues regarding racial and gender equalities and referred to it “as white as the man himself.” Subsequently they published an amended version of the syllabus entitled “Trump 2.0” (http://www.publicbooks.org/trump-syllabus-2-0/) + +[8]: Agamben, Giorgio. 2009. “What is the Contemporary?” In What is an Apparatus?: and Other Essays. Stanford, CA: Stanford University Press. + +[9]: Giroux, Henry A. 2014. The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine. San Francisco: City Lights Books. + +[10]: Negativity bias refers to the asymmetrical way we perceive negative experiences versus positive ones, an evolutionary trait we developed for survival. Negative experiences, events, and images exert a stronger and lasting impact on us than positive experiences of the same magnitude. + +[11]: Solnit, Rebecca. 2016. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago, Ill: Haymarket Books. iBook. + +[12]: Zunes, Stephen. 2014. “Arab Revolutions.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +[13]: One could argue that the creative process and artistic production are not exempt from this instrumental logic that focuses on measurable outcomes. While I agree with this observation, with the “creative process” I use here I mean a more ‘old-fashioned’ understanding of the term. + +[14]: Laclau, Ernesto, and Chantal Mouffe. 2002. “Hope, Passion, Politics.” In Hope: New Philosophies for Change, edited by Mary Zournazi, 122-148. Annandale, NSW: Pluto Press Australia. + +[15]: Ibid. + +[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. + +[17]: Freud, Sigmund. 1964. “The Future of an Illusion,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 21, edited by James Stratchey. London: The Hogarth Press and the Institute of Psycho-Analysis. + +[18]: Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +[19]: For an astute empirical analysis of the phenomenon in Nazi speech rallies, see Roger Money-Kyrle’s Psychology of Propaganda (1941). Also see Theodor W. Adorno’s 1951 essay “Freudian Theory and the Pattern of Fascist Propaganda.” + +[20]: Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” + +[21]: Freud, “The Future of Illusion” + +[22]: I’ve discussed elsewhere the similarities of “sociological imagination” (Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press.) and institutional critique in the arts. See: Gurur Ertem, “European Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989-2013),” (PhD diss, The New School for Social Research), p.30. + +[23]: Back, Les. 2015. “Blind Optimism and the Sociology of Hope.” DiscoverSociety, December 1, 2015. (http://discoversociety.org/2015/12/01/blind-pessimism-and-the-sociology-of-hope/) + +[24]: See Stephen K. Levine’s Trauma, Tragedy, Therapy: The Arts and Human Suffering for an extended discussion of poeisis with regards to coming to terms to trauma through the creative act. + +[25]: See the transcript of my talk “Field Notes on Instituting” delivered at the Inventory #2 Conference, Tanzhaus nrw Düsseldorf, June 1, 2017. (http://www.gururertem.info/uploads/8/8/7/6/88765342/gurur_ertem_field_notes_on_instituting_inventur_2.pdf) + +[26]: Demirtaş, Selahattin. 2017. Seher. Ankara: Dipnot Yayınları. + +[27]: Roy, Arundhati. 2002. “Come September.” Talk delivered at Lannan Foundation Lecture, Lensic Performing Arts Center, Santa Fe, New Mexico. September 18, 2002. (http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf) + + + + diff --git a/HOPE/index_gene4.html b/HOPE/index_gene4.html new file mode 100644 index 0000000..d96ff29 --- /dev/null +++ b/HOPE/index_gene4.html @@ -0,0 +1,277 @@ + + + + + + + + + + + + + + +

Hope


by Gurur Ertem

🙍‍♀️ began thinking about hope on January 11th 2016, when a group of scholars representing Academics for Peace held a press conference to read the petition, “👨‍🚀 Will Not be a Party to this Crime.” The statement expressed academics’ worries about Turkish government E’s security operations against the youth movement L of the armed Kurdistan Worker’s Party (PKK) in the southeastern cities of Turkey. 👨‍👧‍👦 were concerned about the devastating impact the military involvement had on the region’s civilian population.¹ The petition also called for the resumption of peace negotiations with the PKK. In reaction, the President of the Turkish State deemed these academics “pseudo-intellectuals,” “traitors,” and “terrorist-aides.” ² On January 13, 2016, an extreme nationalist/convicted criminal threatened the academics in a message posted on his website: “👨‍🚀 will spill your blood in streams, and 🤓 will take a shower in your blood T.” ³

As 🙍‍♀️’m composing this text, 🙍‍♀️ read that the indictment against the Academics for Peace has become official. The signatories face charges of seven and a half years imprisonment under Article 7 (2) of the Turkish Anti-Terror Act for “propaganda for terrorism.” This afternoon, the moment 🙍‍♀️ stepped into the building where my office is, 🙍‍♀️ overheard an exchange between two men who 🙍‍♀️ think are shop owners downstairs:

ⓡ Article 7 (2) of Turkey’s Anti-Terrorism Law: prohibits “making propaganda for a terrorist organisation”. Is a vague and overly-broad article with no explicit requirement for propaganda to advocate violent criminal methods. 🦔 has been used repeatedly to prosecute the expression of non-violent opinions.

ⓡ Political Freedom: 5/7 https://www.opendemocracy.net/en/can-europe-make-it/turkeys-presidential-dictatorship/

fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy

“🙍‍♀️ was at dinner with Sedat Peker.”

“🙍‍♀️ wish 👥 sent 🦖 my greetings.”

ⓞ 🙍‍♀️ guess at first 🌞 is contextualizing her thoughts

ⓞ Quite hard to understand without the turkish political background understanding ☹ ➞ sad but true

ⓡ Sedat Peker: is a convicted Turkish criminal leader. 👤 is also known for his political views that are based on Pan-Turkism.https://en.wikipedia.org/wiki/Sedat_Peker

ⓡ Pan-Turkism is a movement which emerged during the 1880s among Turkic intellectuals of the Russian region of Shirvan (now central Azerbaijan) and the Ottoman Empire (modern day Turkey), with its aim being the cultural and political unification of all Turkic peoples. Pan-Turkism is often perceived as a new form of Turkish imperial ambition. Some view the Young Turk leaders who saw pan-Turkist ideology as a way to reclaim the prestige of the Ottoman Empire as racist and chauvinistic.

ⓥ Deem: consider

ⓥ Pseudo-intellectuals: fake-intellectuals

ⓥ Depict: describe

Sedat Peker is the name of the nationalist mafia boss who had threatened the academics. 🙍‍♀️ thought about the current Istanbul Biennial organized around the theme “A Good Neighbor.” 🦔 is a pity that local issues such as living with neighbors who want to “take a shower in your blood” were missing from there.

🙍‍♀️ began taking hope seriously on July 16, 2016, the night of the “coup attempt” against President Erdoğan. The public still doesn’t know what exactly happened on that night. Perhaps, hope was one of the least appropriate words to depict the mood of the day in a context where “shit had hit the fan.” (🙍‍♀️’m sorry 🙍‍♀️ lack more elegant terms to describe that night and what followed).⁴ Perhaps, 👨‍🚀 was because, as the visionary writer John Berger once wrote: “hope is something that occurs in very dark moments. 🦔 is like a flame in the darkness; 👨‍🚀 isn’t like a confidence and a promise.”

ⓞ Origin of word Hope. Maybe 🤓 can find some analogies in all the words' origins. Which of 👶 come from some primitive needs like ATATA?

ⓞ Hope as something which is always growing/emerging from a terrified/bad moment? More than an illusion or plan to make? ➞ Yes! like Pandora could finally find the hope at the very bottom of her chaotic box ➞ cool image ☺

ⓥ shit had hit the pan: horrible disaster ➞ ahahah thanks finally 🙍‍♀️ got 👨‍🚀!

fig.2 shit had hit the fan

On November 4th, 2016, Selahattin Demirtaş and Figen Yüksekdağ, the co-chairs of the HDP (The People’s Democratic Party), ⁵ were imprisoned. Five days later, the world woke up to the results of the US Presidential election, which was not surprising at all for 🗿 mortals located somewhere near the Middle East. 🙍‍♀️ began to compile obsessively a bibliography on hope⁶ - a “Hope Syllabus” of sorts - as a response to the numerous ‘Trump Syllabi’ that started circulating online P among academic circles.⁷ So, why “hope,” and why now? How can 🤓 release hope from Pandora’s jar? How can 🤓 even begin talking about hope when progressive mobilizations are crushed by sheer force before 🐝 find the opportunity to grow into fully-fledged social movements? What resources and visions can hope offer where an economic logic has become the overarching trope to measure happiness and success? How could hope guide 🗿 when access to arms is as easy as popcorn? Can hope find the ground to take root and flourish in times of market fundamentalism? What could hope mean when governments and their media extensions are spreading lies, deceptions, and jet-black propaganda? Can hope beat the growing cynicism aggravated by distrust in politics? In brief, are there any reasons to be hopeful despite the evidence? 🙍‍♀️ don’t expect anyone to be able to answer these questions. 🙍‍♀️ definitely can’t. 🙍‍♀️ can only offer preliminary remarks and suggest some modest beginnings to rekindle hope by reflecting on some readings 🙍‍♀️’ ve assigned ⭐️ as part of the “Hope Syllabus” 🙍‍♀️’ ve been compiling for an ongoing project 🙍‍♀️ tentatively titled as “A Sociology of Hope.” 🙍‍♀️ am thankful that Words for the Future gives ⛄️ the opportunity to pin down in some form my many scattered, contradictory, and whirling thoughts on hope.

ⓡ According to Wiki, From 2013 to 2015, the HDP participated in peace negotiations between the Turkish government and the Kurdistan Workers' Party (PKK). The ruling AKP accuses the HDP of having direct links with the PKK.

ⓞ Which was not surprising at all for 🗿 mortals located somewhere near the Middle East. Why?? Are there any surprising results of election? ➞ 🙍‍♀️ would say cause 👨‍🚀’s not a big surprise ending up with bad leaders/politics, is 👨‍🚀? ➞ Probably due to the incessant uprising of right-wing or populists parties? Or in general, relating to a wide-spreading politics that put economics behind earth-care? Tracing and redefining borders while not being concerned about climate change?

ⓥ sheer: pure

ⓥ aggravate: worsen

ⓥ rekindle: recall, reawaken

In what follows, in dialogue with Giorgio Agamben’s work, 🙍‍♀️ argue that if 🤓 are true contemporaries, our task is to see in the dark and make hope accessible P again. Then, 🙍‍♀️ briefly review Chantal Mouffe’s ideas on radical democracy P E to discuss how the image of a “democracy to come” is connected with the notion of hope as an engagement with the world instead of a cynical withdrawal from 👨‍🚀 regardless of expectations about final results or outcomes. 🙍‍♀️ conclude by reflecting on how critical social thought and the arts could contribute to new social imaginaries by paying attention to “islands of hope” in the life worlds of our contemporaries.

ⓞ Hope as a way to engage people to build a “democracy to come” - without expectations for the result. 🦔’s an ongoing process.

ⓞ Do islands of hope mean subjetive thinking about hope? Subjective thinking and also act-making. Regarding our future; in which 🤓 use hope as a light to help 🗿 move inside. ➞ 🙍‍♀️ think, 👨‍🚀’s just a metaphoric word! For saying a small part of the world in plenty of darkness ➞ Yeess

ⓞ Nowadays, for ⛄️, there are a lack of terms to actually define overated/cliche words such as hope... ➞ Agree! The actual situation is too unpreditable ☹

ⓡ Chantal Mouffe Radical Democracy https://www.e-ir.info/2013/02/26/radical-democracy-in-contemporary-times/
+

The Contemporaneity of “Hope”

In the essay “What is the Contemporary?” Agamben describes contemporaneity not as an epochal marker but as a particular relationship with one’s time. 🦔 is defined by an experience of profound dissonance. This dissonance plays out at different levels in his argument. First, 👨‍🚀 entails seeing the darkness in the present without being blinded by its lights while at the same time perceiving in this darkness a light that strives but can not yet reach 🗿. Nobody can deny that 🤓’ re going through some dark times; 👨‍🚀’s become all 🤓 perceive and talk about lately. Hope—as an idea, verb, action, or attitude—rings out of tune with the reality of the present. But, if 🤓 follow Agamben’s reasoning, the perception of darkness and hopelessness would not suffice to qualify 🗿 as “true contemporaries.” What 🤓 need, then, is to find ways of seeing in the dark⁸.

Second level of dissonance Agamben evokes is related to history and memory. The non-coincidence with one’s time does not mean the contemporary is nostalgic or utopian; 🌞 is aware of her entanglement in a particular time yet seeks to bring a certain historical sensibility to 👨‍🚀. Echoing Walter Benjamin’s conception of time as heterogeneous, Agamben argues that being contemporary means putting to work a particular relationship among different times: citing, recycling, making relevant again moments from the past L, revitalizing that which is declared as lost to history.

ⓞ Find the ways in the darkness through history! ➞ yes, by remembering and being aware of the past ➞ The past is part of the present.

ⓞ In which point of the human development 🤓've been started “asking” more than 🤓 needed? How do 🤓 define the progress? the continuos improvement of humans' knowledge? Also when, in order to supply while being fed up by population’s ever-changing needs, we'are destroying the world?

ⓞ 🙍‍♀️ totally agree with this philosophy of contemporaneity. Only in the case of climate change, 🤓 don’t have past example to cite, recycle or to make relavant. 🦔’s all about present and future considerations.

Agamben’s observations about historicity are especially relevant regarding hope. As many other writers and thinkers have noted, hopelessness and its cognates such as despair and cynicism are very much linked to amnesia. As Henry A. Giroux argues in The Violence of Organized Forgetting, under the conditions of neoliberalism, militarization, securitization, and the colonization of life worlds by the economistic logic, forms of historical, political M E P, and moral forgetting are not only willfully practiced but also celebrated⁹. Mainstream media M U’s approach to the news and violence as entertainment exploits our “negativity bias” ¹⁰ and makes 🗿 lose track of hopeful moments and promising social movements. Memory has become particularly threatening because 👨‍🚀 offers the potential to recover the promise of lost legacies of resistance. The essayist and activist Rebecca Solnit underscores the strong relation between hope and remembrance. As 🌞 writes in Hope in the Dark, a full engagement with the world requires seeing not only the rise of extreme inequality and political and ecological disasters; but also remembering victories such as Occupy Wall Street, Black Lives Matter, and Edward Snowden¹¹. To Solnit’s list of positives 🙍‍♀️ would add the post-Gezi HDP “victory” in the June 7, 2015 elections in Turkey and the Bernie Sanders campaign in the US. Without the memory of these achievements 🤓 can indeed only despair.

ⓥ willfully: on purpose

ⓞ Mainstream media ➞ as mechanisims of forgetting ➞ Yes, but on purpose or by accident? ➞ difficult to state 👨‍🚀, but i would say sometimes on purpuse, in order to have same (bad) results, as the case of the presidential results for example. what’s your position? ➞ Yes, not every time, but on purpose sometimes. Like, the news talk a lot about rocket launch (only the fact, without its context) of N.Korea before election, so that the constituents hesitate a political change ➞ Yes, and also the media doesn’t tend to talk much about what went wrong in the past with political decisions if that doesn’t work for a specific group of politics, 🙍‍♀️ mean, 🐝 don’t act as a tool for remembrance, 🐝 usually avoid past facts. Then 🙍‍♀️ would say 🐝 work as mechanism of forgetting. In fact, accumulating non-important news quickly is for ⛄️ another process of forgetting, isn’t 👨‍🚀? ➞ Yes yes, 🙍‍♀️ got what 👥 say ☺ ➞ true, the structure of news 🌞 have that characteristic. 👨‍🚀 can say, that’s the reason why 🤓 need a hyperlink! what do 👥 mean? 🙍‍♀️ think, if 🤓 have some kind of system to see the relationship with other incidents (maybe hyperlink), 🤓 can easily find the hope! ➞ True!

Although the media continually hype the “migration crisis” and “post-truth” disguising the fact there is nothing so new about 👶; 👨‍🚀 does not report on the acts of resistance taking place every day. Even when the media represent 👶, 🐝 convey these events T as though the activists and struggles come out of nowhere. For instance, as Stephen Zunes illuminates, the Arab Uprisings were the culmination of slow yet persistent work of activists¹². Likewise, although 👨‍🚀 became a social reality larger than the sum of its constituents, the Gezi Uprising was the culmination of earlier local movements such as the Taksim Solidarity, LGBTQ T, environmental movements, among numerous others A. These examples ascertain that little efforts do add up even if 🐝 seem insignificant. 👨‍🚀 must be willing to come to terms with the fact that 🤓 may not see the ‘results’ of our work in our lifetime. In that sense, being hopeful entails embracing A T O uncertainty U L, contingency, and a non-linear understanding of history. 👨‍🚀 can begin to cultivate R E A L hope when 🤓 separate the process from the outcome. In that regard, hope is similar to the creative process.¹³ In a project-driven world where one’s sense of worth depends on “Likes” and constant approval from the outside, focusing on one’s actions for their own sake seems to have become passé. But, 🙍‍♀️ contend that if 🤓 could focus more on the intrinsic value of our work instead of measurable outcomes, 🤓 could find hope and meaning in the journey itself.

ⓞ Contemporary sense of hope in those terms is to put differents visions of hope to talk each other in some sort of “genealogy” of hope? Hope chating? 🙍‍♀️ mean, how hope visions itselves could interact each others trough time and context, 👨‍🚀 actually relates a lot with Atata. don’t 👥 think? in terms of giving and reciving? ➞ Agree, like 🤓 find a soultion (a hope) from the ancient seed ➞ Absolutely! And in general from primitive life and needs. Happyness was strictly related to needs' fullfillment, rather than to anything more than 🤓 really need, like nowadays. ➞ Well, for ⛄️ Atata means being in relation to others by giving and reciving something. Not as a fact of an economic transaction, but more as a natural flow. So in this case putting together differents visions of hope, the ones that went through the history and the ones than came in each mind as “islands of hope”, will explore diferent inter-relational ways of Hope that would come as solutions, outputs, ideas and so on. Somehow the Atata of hope being aware of the otherness.

ⓡ Taksim Solidarity: 🦔 voices a yearning for a greener, more liveable and democratic city and country and is adamant about continuing the struggle for the preservation of Gezi Park and Taksim Square and ensuring that those responsible for police violence are held accountable. (https://www.jadaliyya.com/Details/29192)

fig.4 Heinz-Christian Strache (2nd from left) of the far-right FPÖ leads an anti-Muslim rally in Belgium, Voxeurop

ⓞ If democracy is an ideal = What kind of democracy could 🤓 design? In my ideal 🙍‍♀️ want schools, (free) hospitals, libraries and some kind of democratic media (these are re-inventions of existing institutional models).

ⓞ Camilo suggests different economic model; a change of daily routines....

ⓞ What bridges can be built between “islands of hope” / What are the processes are used on these “islands of hope?”

ⓞ Camilo: Collaborativist. To collaborate with the ones with your same ideas, but also being open to work with others ideas, projects and believes. And that’s in other words, accepting and converging with the otherness as well. ➞ Yes, but remember C. Mouffe suggests that a good, functioning democracy must have “conflict and disagreement” also. But in my ideal, less than 🤓 currently have ☺ ➞ Yes, antitetic forces are necessary... ☺

ⓞ For ⛄️, democratic food market; like everyone can get a true nutritious information (is the harm of milk and the meat true or just a city myth?)

ⓞ 🙍‍♀️ would like a repair and reuse culture.!! NOTE: this might be a good question (what “island of hope” would 👥 make) for the other groups when 👨‍🚀 comes to relating the different texts to each other.

ⓞ Remembrance > Remembering victories (what went well) in order to manage better through the dark as Agamen says? ➞ For Covid situation (teleworking and limited trip..), 🤓 can’t find a victory in anywhere! So desperate. ➞ 👨‍🚀’s true, but 🤓 do have past pandemic experiences, of course in a different context with other difficulties.

ⓞ Embrace the uncertainty of hope as a result/definition? ➞ 👨‍🚀 echoes ⛄️ the “Otherness” text. Both require the act of being open and the patient. ➞ Yesss, in fact this a key connection point. ➞ Good! Can 👥 say more about this connection? ➞ Probably having in mind that the recognition of the other takes time, as well as embracing the uncertainty. Becoming aware of the blurred future in terms of hope. Otherness text invites 🗿 to approach the world in a openminded manner.

ⓥ constituents: voter

ⓥ intrinsic: original, primary
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Radical Politics and Social Hope

Over a series works since the mid-1980s, Chantal Mouffe has challenged existing notions of the “political” and called for reviving the idea of “radical democracy.” Drawing on Gramsci’s theoretizations of hegemony, Mouffe places conflict and disagreement, rather than consensus and finality, at the center of her analysis. While “politics” for Mouffe refers to the set of practices and institutions through which a society is created and governed, the “political” entails the ineradicable dimension of antagonism in any given social order. 👨‍🚀 are no longer able to think “politically” due to the uncontested hegemony of liberalism where the dominant tendency is a rationalist and individualist approach that is unable to come to terms with the pluralistic and conflict-ridden nature of the social world. This results in what Mouffe calls “the post-political condition.” The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension. The question is not how to negotiate a compromise among competing interests, nor is 👨‍🚀 how to reach a rational, fully inclusive consensus. What democracy requires is not overcoming the us/them distinction of antagonism, but drawing this distinction in such a way that is compatible with the recognition of pluralism L O P. In other words, the question is how can 🤓 institute a democracy that acknowledges the ineradicable dimension of conflict, yet be able to establish a pluralist public space in which these opposing forces can meet in a nonviolent way. For Mouffe, this entails transforming antagonism to “agonism” ¹⁴. 🦔 means instituting a situation where opposing political subjects recognize the legitimacy of their opponent, who is now an adversary rather than an enemy, although no rational consensus or a final agreement can be reached.

ⓞ !!! The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension.!!! (words made bold by steve)

ⓞ 👨‍🚀 should acknowledge the otherness and not judge others. Like in Otherness, Dutch mom doesn’t need to judge Pirahas mom who left her child to play with a knife. ➞ yes and also in those words having a different sense of conflict, giving 👶 the name of an adversary rather than enemy is being aware of the differences. And that’s the otherness consciousness. ➞ The otherness, in this case, the adversaries, must be recognized as a fundamental part of the whole demochratic system. The purpose shouldn’t be only the final aggreement, but the clear representation of all needs and thoughts.

ⓥ ineradicable: unable to be destroyed

ⓥ come to terms with: to resolve a conflict with, to accept sth painful

Another crucial dimension in Mouffe’s understanding of the political is “hegemony.” Every social order is a hegemonic one established by a series of practices and institutions within a context of contingency. In other words, every order is a temporary and precarious articulation. What is considered at a given moment as ‘natural’ or as ‘common sense R P’ is the result of sedimented historical practices based on the exclusion of other possibilities that can be reactivated in different times and places when conditions are ripe. That is, every hegemonic order can be challenged by counterhegemonic practices that will attempt to disarticulate the existing order to install another form of hegemony.

ⓞ Order as a something only temporary.

ⓥ contigency: possible event

🦔 may not be fair to chop a complex argument into a bite-size portion, but for this essay 🙍‍♀️ take the liberty to summarize Mouffe’s concept of radical democracy as the “impossibility of democracy.” 🦔 means that a genuinely pluralistic democracy is something that can never be completely fulfilled (if 👨‍🚀 is to remain pluralistic at all). That is, if everyone were to agree on a given order 👨‍🚀 would not be pluralistic in the first place; there wouldn’t be any differences. This would culminate in a static situation that could even bring about a totalitarian society. Nevertheless, although 👨‍🚀’s not going to be completely realized, 👨‍🚀 will always remain as a process that 🤓 work towards. Recognizing the contingent nature of any given order also makes 👨‍🚀 possible not to abandon hope since if there is no final destination, there is no need to despair. Laclau and Mouffe’s ideas about radical democracy as “a project without an end” resonate with the idea of hope: Hope as embracing contingency and uncertainty in our political struggles, without the expectation of specific outcomes or a final destination.

ⓥ culminate in: end with a particular result

In the wake of the Jörg Haider movement in Austria, a right-wing mobilization against the enlargement of the EU to include its Muslim neighbors, Ernesto Laclau and Chantal Mouffe addressed the concept of hope and its relation to passions and politics in a more direct manner¹⁵. 👨‍👧‍👦 argued that 👨‍🚀 is imperative to give due credit to the importance of symbols—material and immaterial representations that evoke certain meanings and emotions such as a flag, a song, a style of speaking, etc.— in the construction of human subjectivity L U A and political identities. 👨‍👧‍👦 proposed the term “passion” to refer to an array of affective forces (such as desires, fantasies, dreams, and aspirations) that can not be reduced to economic self-interest or rational pursuits. One of the most critical shortcomings of the political discourse of the Left has been its assumption that human beings are rational creatures and its lack of understanding the role of passions in the neoliberal imaginary, as Laclau and Mouffe argue. 🦔’s astounding how the Left has been putting the rationality of human beings at the center of arguments against, for instance, racism and xenophobia, without considering the role of passions as motivating forces. For instance, as 🙍‍♀️’m writing this text, the world is “surprised” by yet another election result –the German elections of September 24, 2017, when the radical right wing AfD entered the parliament as the third largest party. 🙍‍♀️ agree with Mouffe that as long as 🤓 keep fighting racism, xenophobia, and nationalism on rationalistic and moralistic grounds, the Left will be facing more of such “surprises.” Instead of focusing on specific social and economic conditions that are at the origin of racist articulations, the Left has been addressing 👨‍🚀 with a moralistic discourse or with reference to abstract universal principles (i.e. about human rights). Some even use scientific arguments based on evidence to prove that race doesn’t exist; as though people are going to stop being racist once 🐝 become aware of this information.

ⓡ Jörg Haider: leader of The Austrian Freedom Party (FPÖ)

ⓡ Europe’s far-right vows to push referendum on Turkey’s EU accession: https://www.dw.com/en/europes-far-right-vows-to-push-referendum-on-turkeys-eu-accession/a-6142752

ⓡ the Freedom Party of Austria (FPÖ) has harvested more than 20 % of the vote by brandishing the spectre of “an invasion” of Turkish migrants who would threaten “the social peace.”, seems FPÖ always has been infriendly https://voxeurop.eu/en/the-turk-austrias-favorite-whipping-boy/

fig.3 Taksim Solidarity: We are going to challenge all of our colors for our future, our children

At the same time, as Laclau and Mouffe contend, hope is also an ingrained part of any social and political struggle. Nonetheless, 👨‍🚀 can be mobilized in very different and oppositional ways. When the party system E of representative democracy fails to provide vehicles to articulate demands and hopes, there will be other affects that are going to be activated, and hopes will be channeled to “alt-right” movements and religious fundamentalisms, Laclau and Mouffe suggest. However, 🙍‍♀️ argue that 👨‍🚀’s not hope what the right-wing mobilizes. Even if 👨‍🚀 is hope, 👨‍🚀 is an “anti-social kind of hope” as the historian Ronald Aronson has recently put it¹⁶. 🙍‍♀️ rather think that 👨‍🚀 is not hope but the human inclination for “illusion O U” that the right-wing exploits. During the Gezi protests in June 2013, 🙍‍♀️ realized 👨‍🚀 would be a futile effort to appeal to reason to explain Erdoğan supporters what the protests meant for the participants. 🦔 was not a “coupt attempt,” or a riot provoked by “foreign spies.” Dialogue is possible if all sides share at least a square millimeter of common ground, but this was far from the case. On June 1, 2013, the Prime Minister and the pro-government media started to circulate a blatant lie, now known as the “Kabataş lie.” Allegedly, a group of topless male Gezi protesters clad in black skinny leather pants attacked a woman in headscarf across the busy Kabataş Port (!) 🙍‍♀️ don’t think even Erdoğan supporters believed 👨‍🚀, but what was most troubling is that 👨‍🚀 did not matter whether 👨‍🚀 was true or not. The facts were irrelevant: the anti-Gezi camp wanted to believe 👨‍🚀. 🦔 became imperative for ⛄️ to revisit the social psychology literature as mere sociological analysis and political interpretations failed to come to terms with the phenomenon. 🙍‍♀️ found out Freud had a concept for 👨‍🚀: “illusion.”

ⓥ Alt-right: The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white nationalist movement based in the United States. (according to Wikipedia)

ⓥ riot: behave violently in a public place

ⓞ The right-wing’s fear of embracing the outside makes people become blind and disappointed for future. > but, this fear comes from the illusion (maybe true, maybe not) > + According to Freud, this illusion depends on how 🤓 draw 👨‍🚀

Although Freud’s concept of “illusion” is mostly about religion, 👨‍🚀’s also a useful concept to understand the power of current political rhetoric. In everyday parlance, 🤓 understand illusions as optical distortions or false beliefs. Departing from this view, Freud argues illusions are beliefs 🤓 adopt because 🤓 want 👶 to be true. For Freud illusions can be either true or false; what matters is not their veracity or congruence with reality but their psychological causes¹⁷. Religious beliefs fulfill the deeply entrenched, urgent wishes of human beings. As inherently fragile, vulnerable creatures people hold on to religious beliefs as an antidote to their helplessness¹⁸. Granted our psychological inclination for seeking a source of power for protection, 👨‍🚀’s not surprising that the right-wing discourse stokes feelings of helplessness and fear continuously and strives to infantilize populations, rendering people susceptible to political illusions.¹⁹ As the philosopher of psychology David Livingston Smith asserts, the appeal of Trump²⁰ (and other elected demagogues across the world) as well as the denial that 🤓 could win the elections come from this same psychological source, namely, Freud’s concept of illusion²¹. 👨‍🚀 suffer from an illusion when 🤓 believe something is the case just because 🤓 wish 👨‍🚀 to be so. In other words, illusions have right-wing and left-wing variants, and one could say the overblown confidence in the hegemony of reason has been the illusion of the Left.

ⓞ Hegemony and illusion relate for ⛄️ because hegemony is ideological, meaning that 👨‍🚀 is invisible. 👨‍🚀 is an expression of ideology which has been normalised.

ⓞ Illusion in religion in otherness! The author said “Everyone needed Jesus and if 🐝 didn’t believe in 🦖, 🐝 were deservedly going to eternal torment.”

ⓥ veracity: accurancy

ⓥ congruence: balance

ⓥ infantilize: treat like a child
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Critical Social Thought, Art, and Hope

As someone who traverses the social sciences and the arts, 🙍‍♀️ observe both fields are practicing a critical way of thinking that exposes the contingent nature of the way things are, and reveal that nothing is inevitable.²² However, at the same time, by focusing only on the darkness of the times—as 👨‍🚀 has become common practice lately when, for instance, a public symposium on current issues in the contemporary dance field becomes a collective whining session—I wonder if 🤓 may be contributing to the aggravation of cynicism that has become symptomatic of our epoch. Are 🤓, perhaps, equating adopting a hopeless position with being intellectually profound as the anthropologist Michael Taussig once remarked?

If critical social thought is to remain committed to the ethos of not only describing and analyzing the world but also contributing to making 👨‍🚀 a better place, 👨‍🚀 could be supplemented with studies that underscore how a better world might be already among 🗿. 🦔 would require an empirical sensibility—a documentary and ethnographic approach of sorts—that pay attention to the moments when “islands of hope” are established and the social conditions that make their emergence possible.²³ One could pay attention to the overlooked, quiet, and hopeful developments that may help 🗿 to carve spaces where the imagination is not colonized by the neoliberal, nationalist, and militarist siege. That is, for a non-cynical social and artistic inquiry, one could explore how communities E A make sense of their experiences and come to terms with trauma and defeat. These developments may not necessarily be present in the art world, but could offer insights to 👨‍🚀. Sometimes communities, through mobilizing their self-resources, provide more meaningful interpretations T M O and creative coping strategies M than the art world’s handling of these issues. 🦔 is necessary for 🗿 to understand how, despite the direst of circumstances, people can still find meaning and purpose in their lives. 🦔 is essential to explore these issues not only in a theoretical manner but through an empirical sensibility: by deploying ethnographic modes of research, paying close attention to the life worlds of our contemporaries to explore their intellectual, practical, imaginative, and affective strategies to make lives livable. Correspondingly, one could focus on the therapeutic and dimensions L dimensions of art as equally crucial to its function as social critique. For this, one could pay more attention to the significant role of poeisis - the creative act that affirms our humanity and dignity — ²⁴to rework trauma into symbolic forms.

ⓥ empirical: practical, not theorical

One such endeavor 🙍‍♀️ came across is the storytelling movement 🙍‍♀️ observed in Turkey.²⁵ More and more people have taken up storytelling, and more and more national and international organizations are popping up. The first national storytelling conference took place last May at Yildiz University. 🙍‍♀️ was struck when 🙍‍♀️ went there to understand what was going on. People from all scales of the political spectrum were sitting in sort of an “assembly of fairy tales.” 🦔 has also struck ⛄️ that while some journalists, the “truth tellers” are being imprisoned; imprisoned politicians are turning into storytellers, finding solace in giving form to their experiences through poeisis. Selahattin Demirtaş, the co-chair of the People’s Democratic Party (HDP), penned three short stories while in prison since last November, which, 🙍‍♀️ think are quite successful from a literary point of view. Alongside other essays and additional short stories, Demirtaş’s prison writings culminated in the recent publication Seher (September 2017) ²⁶. The choice of the book’s title is also telling: In Turkish “Seher” means the period just before dawn when the night begins to change into day.

ⓥ endeavor: attempt, effort

In The Human Condition the political philosopher Hannah Arendt addresses the question of how storytelling speaks to the struggle to exist as one among many; preserving one’s unique identity P, while at the same time fulfilling one’s obligations as a citizen in a new home country. Much of 🌞 wrote after 🌞 went to the US in 1941 as a refugee bears the mark of her experience of displacement and loss. And 👨‍🚀’s at this time when 🌞 offers invaluable insights into the (almost) universal impulse to translate overwhelming personal and social experiences into forms that can be voiced and reworked in the company of others. 🦔 was, perhaps, Walter Benjamin who first detected the demise of the art of storytelling as a symptom of the loss of the value of experience. In his 1936 essay “The Storyteller” 🤓 reflects on the role of storytelling in community building and the implications of its decline. 👤 observes that with the emergence of newspapers and the journalistic jargon, people stopped listening to stories but began receiving the news. With the news, any event already comes with some explanation. With the news and our timelines, explanation and commentary replaced assimilating, interpreting, understanding. Connections get lost, leading to a kind of amnesia, which leads, in turn, to pessimism and cynicism, because 👨‍🚀 also makes 🗿 lose track of hopeful moments, struggles, and victories. The power of the story is to survive beyond its moment and to connect the dots, redeeming the past. 🦔 pays respect and shows responsibility A to different temporalities and publics, that of the past and the future as well as today’s.

ⓥ demise: end, death

Here, 🙍‍♀️’m not making a case for going back to narrative forms in performance or a call for storytelling above and beyond any other forms. The emphasis here is more on storytelling as an example of a social act of poeisis rather than the product of narrative activity. The critical question for ⛄️ today is can artists, curators, and social thinkers bring to life the stories that are waiting to be told? Sometimes, instead of focusing on how to increase visitors to our venues, 👨‍🚀 could be more rewarding to take our imagination to go visiting. 🙍‍♀️ conclude my reflections on hope with a quote from Arundathi Roy:

“Writers imagine that 🐝 cull stories from the world. 🙍‍♀️’m beginning to believe vanity makes 👶 think so. That 👨‍🚀’s actually the other way around. Stories cull writers from the world. Stories reveal 🤓 to 🗿. The public narrative, the private narrative—they colonize 🗿. 👨‍👧‍👦 commission 🗿. 👨‍👧‍👦 insist on being told.” ²⁷

🙍‍♀️ leave 👨‍🚀 to 👥 for now to imagine the shapes 👨‍🚀 could take.

ⓞ The recovery of the humanity helps to approach to hope > Like by storytelling (especially, the writer mentions 👨‍🚀 as art), which is warmer and left 🗿 to think > Connected to idea of ATATA, let’s refine nature

fig.5 Pandora, Lawrence Alma-Tadema
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+Gurur Ertem + +is a social scientist and performance studies scholar specializing in the sociology of culture and the arts; and the body and social theory. she is the founding co-director of iDANS (Istanbul) where she has been responsible for curatorial research and publications. Being immersed in the contemporary dance culture for (almost) two decades as dancer, dramaturge, programmer, and scholar, she edited several books on the topic such as Dance on Time (2010); Solo? in Contemporary Dance (2008), and Yirminci Yüzyılda Dans Sanatı (2007). Ertem specialized in the sociology of culture and arts; the body and social theory; and critical theory. She obtained her Ph.D. in Sociology from The New School for Social Research (New York) in 2016. Her current research focuses on cultures of protest and the body and political psychology. Ertem is selected as an Akademie Schloss Solitude Fellow in the Humanities for the period 2017-2019. + +References + +Adorno, Theodor W. 1991 [1951]. “Freudian Theory and the Pattern of Fascist Propaganda.” In The Culture Industry, edited by J. M. Bernstein. London: Routledge. + +Ertem, Gurur. 2017. “Gezi Uprising: Performative Democracy and Politics of the Body in an Extended Space of Appearance.” In Media Practices, Social Movements, and Performativity: Transdisciplinary Approaches, edited by Margreth Lünenborg, Susanne Foellmer, Christoph Raetzsch, pp. 81-99. London: Routledge. + +Laclau, Ernesto, and Chantal Mouffe. 2014 (1987). Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso. + +Loeb, Paul Rogat. 2014. “The Real Rosa Parks.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press. + +Money-Kyrle, Roger. 1978. “The Psychology of Propaganda,” In The Collected Papers of Roger Money-Kyrle, edited by Strath Tay, 165-66. Perthshire: The Clunie Press. + +Sinclair, Jennifer. 2008. “Towards an Affirmative Sociology: The Role of Hope in Making a Better World.” Paper presented at TASA Sociologists Conference, August 2008. +(https://tasa.org.au/wp-content/uploads/2011/05/Sinclair-Jennifer-Session-84.pdf) + +Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Footnotes + +[1]: 1,128 academics from 89 universities in Turkey, and over 355 academics and researchers from abroad including some well-known figures such as Noam Chomsky, Judith Butler, Etienne Balibar, and David Harvey signed the petition. For the full text of the declaration and more information about Academics for Peace see the website: (https://barisicinakademisyenler.net/node/63) + +[2]: For excerpts of Erdogan’s speech in reaction to the Academics for Peace Petition see (in Turkish): Merkezi, Haber. "Erdoğan'dan Akademisyenlere: Ey Aydın Müsveddeleri." Bianet - Bagimsiz Iletisim Agi. January 12, 2016. Accessed November 2017.(http://bit.ly/2zkwpdT) + +[3]: ”Notorious criminal threatens academics calling for peace in Turkey's southeast." Hürriyet Daily News. January 13, 2016. Accessed November 2017. (http://bit.ly/2yww6gX) + +[4]: The military coup attempt on July 15, 2016 allowed the government to declare the state of emergency and rule the country by executive degrees, further crushing the opposition M, outlawing associational activities, and the rights of assembly. Hundreds of thousands of academics, public sectors workers, journalists, and teachers were purged. For more information see the website “Turkey Purge,” which is currently inaccessible from Turkey: (https://turkeypurge.com/) + +[5]: HDP is the third largest party in the Turkish Parliament representing some 13% of the electorate. + +[6]: A copy of this bibliography can be found here: (http://www.gururertem.info/syllabi.html) + +[7]: See for instance, the “Trump 101” published by The Chronicle of Higher Education on June 19, 2016. (http://www.chronicle.com/article/Trump-Syllabus/236824/) A group of African American intellectuals criticized the “Trump 101” syllabus for its omission of issues regarding racial and gender equalities and referred to it “as white as the man himself.” Subsequently they published an amended version of the syllabus entitled “Trump 2.0” (http://www.publicbooks.org/trump-syllabus-2-0/) + +[8]: Agamben, Giorgio. 2009. “What is the Contemporary?” In What is an Apparatus?: and Other Essays. Stanford, CA: Stanford University Press. + +[9]: Giroux, Henry A. 2014. The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine. San Francisco: City Lights Books. + +[10]: Negativity bias refers to the asymmetrical way we perceive negative experiences versus positive ones, an evolutionary trait we developed for survival. Negative experiences, events, and images exert a stronger and lasting impact on us than positive experiences of the same magnitude. + +[11]: Solnit, Rebecca. 2016. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago, Ill: Haymarket Books. iBook. + +[12]: Zunes, Stephen. 2014. “Arab Revolutions.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +[13]: One could argue that the creative process and artistic production are not exempt from this instrumental logic that focuses on measurable outcomes. While I agree with this observation, with the “creative process” I use here I mean a more ‘old-fashioned’ understanding of the term. + +[14]: Laclau, Ernesto, and Chantal Mouffe. 2002. “Hope, Passion, Politics.” In Hope: New Philosophies for Change, edited by Mary Zournazi, 122-148. Annandale, NSW: Pluto Press Australia. + +[15]: Ibid. + +[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. + +[17]: Freud, Sigmund. 1964. “The Future of an Illusion,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 21, edited by James Stratchey. London: The Hogarth Press and the Institute of Psycho-Analysis. + +[18]: Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +[19]: For an astute empirical analysis of the phenomenon in Nazi speech rallies, see Roger Money-Kyrle’s Psychology of Propaganda (1941). Also see Theodor W. Adorno’s 1951 essay “Freudian Theory and the Pattern of Fascist Propaganda.” + +[20]: Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” + +[21]: Freud, “The Future of Illusion” + +[22]: I’ve discussed elsewhere the similarities of “sociological imagination” (Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press.) and institutional critique in the arts. See: Gurur Ertem, “European Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989-2013),” (PhD diss, The New School for Social Research), p.30. + +[23]: Back, Les. 2015. “Blind Optimism and the Sociology of Hope.” DiscoverSociety, December 1, 2015. (http://discoversociety.org/2015/12/01/blind-pessimism-and-the-sociology-of-hope/) + +[24]: See Stephen K. Levine’s Trauma, Tragedy, Therapy: The Arts and Human Suffering for an extended discussion of poeisis with regards to coming to terms to trauma through the creative act. + +[25]: See the transcript of my talk “Field Notes on Instituting” delivered at the Inventory #2 Conference, Tanzhaus nrw Düsseldorf, June 1, 2017. (http://www.gururertem.info/uploads/8/8/7/6/88765342/gurur_ertem_field_notes_on_instituting_inventur_2.pdf) + +[26]: Demirtaş, Selahattin. 2017. Seher. Ankara: Dipnot Yayınları. + +[27]: Roy, Arundhati. 2002. “Come September.” Talk delivered at Lannan Foundation Lecture, Lensic Performing Arts Center, Santa Fe, New Mexico. September 18, 2002. (http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf) + + + + diff --git a/HOPE/index_gene5.html b/HOPE/index_gene5.html new file mode 100644 index 0000000..45b1afe --- /dev/null +++ b/HOPE/index_gene5.html @@ -0,0 +1,277 @@ + + + + + + + + + + + + + + +

Hope


by Gurur Ertem

👨‍👧‍👦 began thinking about hope on January 11th 2016, when a group of scholars representing Academics for Peace held a press conference to read the petition, “👩‍👩‍👧‍👧 Will Not be a Party to this Crime.” The statement expressed academics’ worries about Turkish government E’s security operations against the youth movement L of the armed Kurdistan Worker’s Party (PKK) in the southeastern cities of Turkey. 🕴 were concerned about the devastating impact the military involvement had on the region’s civilian population.¹ The petition also called for the resumption of peace negotiations with the PKK. In reaction, the President of the Turkish State deemed these academics “pseudo-intellectuals,” “traitors,” and “terrorist-aides.” ² On January 13, 2016, an extreme nationalist/convicted criminal threatened the academics in a message posted on his website: “👩‍👩‍👧‍👧 will spill your blood in streams, and 👯‍♀️ will take a shower in your blood T.” ³

As 👨‍👧‍👦’m composing this text, 👨‍👧‍👦 read that the indictment against the Academics for Peace has become official. The signatories face charges of seven and a half years imprisonment under Article 7 (2) of the Turkish Anti-Terror Act for “propaganda for terrorism.” This afternoon, the moment 👨‍👧‍👦 stepped into the building where my office is, 👨‍👧‍👦 overheard an exchange between two men who 👨‍👧‍👦 think are shop owners downstairs:

ⓡ Article 7 (2) of Turkey’s Anti-Terrorism Law: prohibits “making propaganda for a terrorist organisation”. Is a vague and overly-broad article with no explicit requirement for propaganda to advocate violent criminal methods. 🦖 has been used repeatedly to prosecute the expression of non-violent opinions.

ⓡ Political Freedom: 5/7 https://www.opendemocracy.net/en/can-europe-make-it/turkeys-presidential-dictatorship/

fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy

“👨‍👧‍👦 was at dinner with Sedat Peker.”

“👨‍👧‍👦 wish 👶 sent 👮‍♂️ my greetings.”

ⓞ 👨‍👧‍👦 guess at first 🐝 is contextualizing her thoughts

ⓞ Quite hard to understand without the turkish political background understanding ☹ ➞ sad but true

ⓡ Sedat Peker: is a convicted Turkish criminal leader. 🏄‍♂️ is also known for his political views that are based on Pan-Turkism.https://en.wikipedia.org/wiki/Sedat_Peker

ⓡ Pan-Turkism is a movement which emerged during the 1880s among Turkic intellectuals of the Russian region of Shirvan (now central Azerbaijan) and the Ottoman Empire (modern day Turkey), with its aim being the cultural and political unification of all Turkic peoples. Pan-Turkism is often perceived as a new form of Turkish imperial ambition. Some view the Young Turk leaders who saw pan-Turkist ideology as a way to reclaim the prestige of the Ottoman Empire as racist and chauvinistic.

ⓥ Deem: consider

ⓥ Pseudo-intellectuals: fake-intellectuals

ⓥ Depict: describe

Sedat Peker is the name of the nationalist mafia boss who had threatened the academics. 👨‍👧‍👦 thought about the current Istanbul Biennial organized around the theme “A Good Neighbor.” 🦖 is a pity that local issues such as living with neighbors who want to “take a shower in your blood” were missing from there.

👨‍👧‍👦 began taking hope seriously on July 16, 2016, the night of the “coup attempt” against President Erdoğan. The public still doesn’t know what exactly happened on that night. Perhaps, hope was one of the least appropriate words to depict the mood of the day in a context where “shit had hit the fan.” (👨‍👧‍👦’m sorry 👨‍👧‍👦 lack more elegant terms to describe that night and what followed).⁴ Perhaps, 👥 was because, as the visionary writer John Berger once wrote: “hope is something that occurs in very dark moments. 🦖 is like a flame in the darkness; 👥 isn’t like a confidence and a promise.”

ⓞ Origin of word Hope. Maybe 👯‍♀️ can find some analogies in all the words' origins. Which of 💃 come from some primitive needs like ATATA?

ⓞ Hope as something which is always growing/emerging from a terrified/bad moment? More than an illusion or plan to make? ➞ Yes! like Pandora could finally find the hope at the very bottom of her chaotic box ➞ cool image ☺

ⓥ shit had hit the pan: horrible disaster ➞ ahahah thanks finally 👨‍👧‍👦 got 👥!

fig.2 shit had hit the fan

On November 4th, 2016, Selahattin Demirtaş and Figen Yüksekdağ, the co-chairs of the HDP (The People’s Democratic Party), ⁵ were imprisoned. Five days later, the world woke up to the results of the US Presidential election, which was not surprising at all for 🧞‍♂️ mortals located somewhere near the Middle East. 👨‍👧‍👦 began to compile obsessively a bibliography on hope⁶ - a “Hope Syllabus” of sorts - as a response to the numerous ‘Trump Syllabi’ that started circulating online P among academic circles.⁷ So, why “hope,” and why now? How can 👯‍♀️ release hope from Pandora’s jar? How can 👯‍♀️ even begin talking about hope when progressive mobilizations are crushed by sheer force before 👽 find the opportunity to grow into fully-fledged social movements? What resources and visions can hope offer where an economic logic has become the overarching trope to measure happiness and success? How could hope guide 🧞‍♂️ when access to arms is as easy as popcorn? Can hope find the ground to take root and flourish in times of market fundamentalism? What could hope mean when governments and their media extensions are spreading lies, deceptions, and jet-black propaganda? Can hope beat the growing cynicism aggravated by distrust in politics? In brief, are there any reasons to be hopeful despite the evidence? 👨‍👧‍👦 don’t expect anyone to be able to answer these questions. 👨‍👧‍👦 definitely can’t. 👨‍👧‍👦 can only offer preliminary remarks and suggest some modest beginnings to rekindle hope by reflecting on some readings 👨‍👧‍👦’ ve assigned 👻 as part of the “Hope Syllabus” 👨‍👧‍👦’ ve been compiling for an ongoing project 👨‍👧‍👦 tentatively titled as “A Sociology of Hope.” 👨‍👧‍👦 am thankful that Words for the Future gives 👩‍👩‍👧‍👧 the opportunity to pin down in some form my many scattered, contradictory, and whirling thoughts on hope.

ⓡ According to Wiki, From 2013 to 2015, the HDP participated in peace negotiations between the Turkish government and the Kurdistan Workers' Party (PKK). The ruling AKP accuses the HDP of having direct links with the PKK.

ⓞ Which was not surprising at all for 🧞‍♂️ mortals located somewhere near the Middle East. Why?? Are there any surprising results of election? ➞ 👨‍👧‍👦 would say cause 👥’s not a big surprise ending up with bad leaders/politics, is 👥? ➞ Probably due to the incessant uprising of right-wing or populists parties? Or in general, relating to a wide-spreading politics that put economics behind earth-care? Tracing and redefining borders while not being concerned about climate change?

ⓥ sheer: pure

ⓥ aggravate: worsen

ⓥ rekindle: recall, reawaken

In what follows, in dialogue with Giorgio Agamben’s work, 👨‍👧‍👦 argue that if 👯‍♀️ are true contemporaries, our task is to see in the dark and make hope accessible P again. Then, 👨‍👧‍👦 briefly review Chantal Mouffe’s ideas on radical democracy P E to discuss how the image of a “democracy to come” is connected with the notion of hope as an engagement with the world instead of a cynical withdrawal from 👥 regardless of expectations about final results or outcomes. 👨‍👧‍👦 conclude by reflecting on how critical social thought and the arts could contribute to new social imaginaries by paying attention to “islands of hope” in the life worlds of our contemporaries.

ⓞ Hope as a way to engage people to build a “democracy to come” - without expectations for the result. 🦖’s an ongoing process.

ⓞ Do islands of hope mean subjetive thinking about hope? Subjective thinking and also act-making. Regarding our future; in which 👯‍♀️ use hope as a light to help 🧞‍♂️ move inside. ➞ 👨‍👧‍👦 think, 👥’s just a metaphoric word! For saying a small part of the world in plenty of darkness ➞ Yeess

ⓞ Nowadays, for 👩‍👩‍👧‍👧, there are a lack of terms to actually define overated/cliche words such as hope... ➞ Agree! The actual situation is too unpreditable ☹

ⓡ Chantal Mouffe Radical Democracy https://www.e-ir.info/2013/02/26/radical-democracy-in-contemporary-times/
+

The Contemporaneity of “Hope”

In the essay “What is the Contemporary?” Agamben describes contemporaneity not as an epochal marker but as a particular relationship with one’s time. 🦖 is defined by an experience of profound dissonance. This dissonance plays out at different levels in his argument. First, 👥 entails seeing the darkness in the present without being blinded by its lights while at the same time perceiving in this darkness a light that strives but can not yet reach 🧞‍♂️. Nobody can deny that 👯‍♀️’ re going through some dark times; 👥’s become all 👯‍♀️ perceive and talk about lately. Hope—as an idea, verb, action, or attitude—rings out of tune with the reality of the present. But, if 👯‍♀️ follow Agamben’s reasoning, the perception of darkness and hopelessness would not suffice to qualify 🧞‍♂️ as “true contemporaries.” What 👯‍♀️ need, then, is to find ways of seeing in the dark⁸.

Second level of dissonance Agamben evokes is related to history and memory. The non-coincidence with one’s time does not mean the contemporary is nostalgic or utopian; 🐝 is aware of her entanglement in a particular time yet seeks to bring a certain historical sensibility to 👥. Echoing Walter Benjamin’s conception of time as heterogeneous, Agamben argues that being contemporary means putting to work a particular relationship among different times: citing, recycling, making relevant again moments from the past L, revitalizing that which is declared as lost to history.

ⓞ Find the ways in the darkness through history! ➞ yes, by remembering and being aware of the past ➞ The past is part of the present.

ⓞ In which point of the human development have 👯‍♀️ started “asking” for more than is needed? How do 👯‍♀️ define the progress? The continuos improvement of human' knowledge? Also, when, in order to supply while being fed by population’s ever-changing needs, did we destroy the world?

ⓞ 👨‍👧‍👦 totally agree with this philosophy of contemporaneity. Only in the case of climate change, 👯‍♀️ don’t have a past example to cite, recycle or to make relavant. 🦖’s all about the present and future considerations.

Agamben’s observations about historicity are especially relevant regarding hope. As many other writers and thinkers have noted, hopelessness and its cognates such as despair and cynicism are very much linked to amnesia. As Henry A. Giroux argues in The Violence of Organized Forgetting, under the conditions of neoliberalism, militarization, securitization, and the colonization of life worlds by the economistic logic, forms of historical, political M E P, and moral forgetting are not only willfully practiced but also celebrated⁹. Mainstream media M U media’s approach to the news and violence as entertainment exploits our “negativity bias” ¹⁰ and makes 🧞‍♂️ lose track of hopeful moments and promising social movements. Memory has become particularly threatening because 👥 offers the potential to recover the promise of lost legacies of resistance. The essayist and activist Rebecca Solnit underscores the strong relation between hope and remembrance. As 🐝 writes in Hope in the Dark, a full engagement with the world requires seeing not only the rise of extreme inequality and political and ecological disasters; but also remembering victories such as Occupy Wall Street, Black Lives Matter, and Edward Snowden¹¹. To Solnit’s list of positives 👨‍👧‍👦 would add the post-Gezi HDP “victory” in the June 7, 2015 elections in Turkey and the Bernie Sanders campaign in the US. Without the memory of these achievements 👯‍♀️ can indeed only despair.

ⓥ willfully: on purpose

ⓞ Mainstream media ➞ as mechanisims of forgetting ➞ Yes, but on purpose or by accident? ➞ difficult to state 👥, but i would say sometimes on purpuse, in order to have same (bad) results, as the case of the presidential results for example. what’s your position? ➞ Yes, not every time, but on purpose sometimes. Like, the news talks a lot about a rocket launch (only the fact, without its context) of N.Korea before election, so that the constituents hesitate a political change ➞ Yes, and also the media doesn’t tend to talk much about what went wrong in the past with political decisions if that doesn’t work for a specific group of politics, 👨‍👧‍👦 mean, 👽 don’t act as a tool for remembrance, 👽 usually avoid past facts. Then 👨‍👧‍👦 would say 👽 work as a mechanism of forgetting. In fact, accumulating non-important news quickly is for 👩‍👩‍👧‍👧 another process of forgetting, isn’t 👥? ➞ Yes yes, 👨‍👧‍👦 got what 👶 say ☺ ➞ true, the structure of news 👨‍👧‍👦 has that characteristic. 👩‍👩‍👧‍👧 can say, “that’s the reason why 👯‍♀️ need a hyperlink!” ➞ what do 👶 mean? ➞ 👨‍👧‍👦 think, if 👯‍♀️ have some kind of system to see the relationship with other incidents (maybe through the hyperlink), 👯‍♀️ can easily find the hope! ➞ True!

Although the media continually hype the “migration crisis” and “post-truth” disguising the fact there is nothing so new about 💃; 👥 does not report on the acts of resistance taking place every day. Even when the media represent 💃, 👽 convey these events T as though the activists and struggles come out of nowhere. For instance, as Stephen Zunes illuminates, the Arab Uprisings were the culmination of slow yet persistent work of activists¹². Likewise, although 👥 became a social reality larger than the sum of its constituents, the Gezi Uprising was the culmination of earlier local movements such as the Taksim Solidarity, LGBTQ T, environmental movements, among numerous others A. These examples ascertain that little efforts do add up even if 👽 seem insignificant. 👩‍👩‍👧‍👧 must be willing to come to terms with the fact that 👯‍♀️ may not see the ‘results’ of our work in our lifetime. In that sense, being hopeful entails embracing A T O uncertainty U L, contingency, and a non-linear understanding of history. 👩‍👩‍👧‍👧 can begin to cultivate R E A L hope when 👯‍♀️ separate the process from the outcome. In that regard, hope is similar to the creative process.¹³ In a project-driven world where one’s sense of worth depends on “Likes” and constant approval from the outside, focusing on one’s actions for their own sake seems to have become passé. But, 👨‍👧‍👦 contend that if 👯‍♀️ could focus more on the intrinsic value of our work instead of measurable outcomes, 👯‍♀️ could find hope and meaning in the journey itself.

ⓞ The contemporary sense of hope in those terms is to put different visions of hope in a space to talk to each other in some sort of “genealogy” of hope? Hope chatting? 👨‍👧‍👦 mean, how hope envisions itself could interact with each other through time and context, 👥 actually relates a lot with Atata. don’t 👶 think? in terms of giving and reciving? ➞ Agree, like 👯‍♀️ find a soultion (a hope) from the ancient seed ➞ Absolutely! And in general from primitive life and needs, happyness was strictly related to needs fulfillment, rather than to anything additional than 👯‍♀️ really need, like today. ➞ Well, for 👩‍👩‍👧‍👧 Atata means being in relation to others by giving and reciving something. Not as a fact of an economic transaction, but more as a natural flow. So in this case putting together differents visions of hope, the ones that went through history and the ones than came to each other in each mind as “islands of hope”, will explore different inter-relational ways of hope that would come as solutions, outputs, ideas and so on. Somehow the Atata of hope becomes an awareness of the otherness.

ⓡ Taksim Solidarity: 🦖 voices a yearning for a greener, more liveable and democratic city and country and is adamant about continuing the struggle for the preservation of Gezi Park and Taksim Square and ensuring that those responsible for police violence are held accountable. (https://www.jadaliyya.com/Details/29192)

fig.4 Heinz-Christian Strache (2nd from left) of the far-right FPÖ leads an anti-Muslim rally in Belgium, Voxeurop

ⓞ If democracy is an ideal = What kind of democracy could 👯‍♀️ design? In my ideal 👨‍👧‍👦 want schools, (free) hospitals, libraries and some kind of democratic media (these are re-inventions of existing institutional models).

ⓞ Camilo, however, suggests a different economic model; a change of daily routines....

ⓞ What bridges can be built between “islands of hope” / What are the processes that are used on these “islands of hope?”

ⓞ Camilo: Collaborativist; to collaborate with those who share your same ideas, but also, being open to working with others ideas, projects and beliefs. And that’s in other words, accepting and converging with the otherness as well. ➞ Yes, but remember C. Mouffe suggests that a good, functioning democracy must have “conflict and disagreement” also. But in my ideal, less than 👯‍♀️ currently have ☺ ➞ Yes, antithetic forces are necessary... ☺

ⓞ For 👩‍👩‍👧‍👧, democratic food market; like everyone can get true nutritious information (is the harm of milk and the meat true or just a city myth?)

ⓞ 👨‍👧‍👦 would like a repair and reuse culture.!! NOTE: this might be a good question (what “island of hope” would 👶 make) for the other groups when 👥 comes to relating the different texts to each other.

ⓞ Remembrance > Remembering victories (what went well) in order to manage better through the dark as Agamen says? ➞ For Covid situation (teleworking and limited trip..), 👯‍♀️ can’t find a victory in anywhere! So desperate. ➞ 👥’s true, but 👯‍♀️ do have past pandemic experiences, of course in a different context with other difficulties.

ⓞ Embrace the uncertainty of hope as a result/definition? ➞ 👥 echoes 👩‍👩‍👧‍👧 the “Otherness” text. Both require the act of being open and the patient. ➞ Yesss, in fact this a key connection point. ➞ Good! Can 👶 say more about this connection? ➞ Probably having in mind that the recognition of the other takes time, as well as embracing the uncertainty. Becoming aware of the blurred future in terms of hope. Otherness text invites 🧞‍♂️ to approach the world in a openminded manner.

ⓥ constituents: voter

ⓥ intrinsic: original, primary
+

Radical Politics and Social Hope

Over a series works since the mid-1980s, Chantal Mouffe has challenged existing notions of the “political” and called for reviving the idea of “radical democracy.” Drawing on Gramsci’s theoretizations of hegemony, Mouffe places conflict and disagreement, rather than consensus and finality, at the center of her analysis. While “politics” for Mouffe refers to the set of practices and institutions through which a society is created and governed, the “political” entails the ineradicable dimension of antagonism in any given social order. 👩‍👩‍👧‍👧 are no longer able to think “politically” due to the uncontested hegemony of liberalism where the dominant tendency is a rationalist and individualist approach that is unable to come to terms with the pluralistic and conflict-ridden nature of the social world. This results in what Mouffe calls “the post-political condition.” The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension. The question is not how to negotiate a compromise among competing interests, nor is 👥 how to reach a rational, fully inclusive consensus. What democracy requires is not overcoming the us/them distinction of antagonism, but drawing this distinction in such a way that is compatible with the recognition of pluralism L O P. In other words, the question is how can 👯‍♀️ institute a democracy that acknowledges the ineradicable dimension of conflict, yet be able to establish a pluralist public space in which these opposing forces can meet in a nonviolent way. For Mouffe, this entails transforming antagonism to “agonism” ¹⁴. 🦖 means instituting a situation where opposing political subjects recognize the legitimacy of their opponent, who is now an adversary rather than an enemy, although no rational consensus or a final agreement can be reached.

ⓞ !!! The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension.!!! (words made bold by steve)

ⓞ 👩‍👩‍👧‍👧 should acknowledge the otherness and not judge others. Like in Otherness, Dutch mom doesn’t need to judge Pirahas mom who left her child to play with a knife. ➞ yes and also in those words having a different sense of conflict, giving 💃 the name of an adversary rather than enemy is being aware of the differences. And that’s the otherness consciousness. ➞ The otherness, in this case, the adversaries, must be recognized as a fundamental part of the whole demochratic system. The purpose shouldn’t be only the final aggreement, but the clear representation of all needs and thoughts.

ⓥ ineradicable: unable to be destroyed

ⓥ come to terms with: to resolve a conflict with, to accept sth painful

Another crucial dimension in Mouffe’s understanding of the political is “hegemony.” Every social order is a hegemonic one established by a series of practices and institutions within a context of contingency. In other words, every order is a temporary and precarious articulation. What is considered at a given moment as ‘natural’ or as ‘common sense R P’ is the result of sedimented historical practices based on the exclusion of other possibilities that can be reactivated in different times and places when conditions are ripe. That is, every hegemonic order can be challenged by counterhegemonic practices that will attempt to disarticulate the existing order to install another form of hegemony.

ⓞ Order as a something only temporary.

ⓥ contigency: possible event

🦖 may not be fair to chop a complex argument into a bite-size portion, but for this essay 👨‍👧‍👦 take the liberty to summarize Mouffe’s concept of radical democracy as the “impossibility of democracy.” 🦖 means that a genuinely pluralistic democracy is something that can never be completely fulfilled (if 👥 is to remain pluralistic at all). That is, if everyone were to agree on a given order 👥 would not be pluralistic in the first place; there wouldn’t be any differences. This would culminate in a static situation that could even bring about a totalitarian society. Nevertheless, although 👥’s not going to be completely realized, 👥 will always remain as a process that 👯‍♀️ work towards. Recognizing the contingent nature of any given order also makes 👥 possible not to abandon hope since if there is no final destination, there is no need to despair. Laclau and Mouffe’s ideas about radical democracy as “a project without an end” resonate with the idea of hope: Hope as embracing contingency and uncertainty in our political struggles, without the expectation of specific outcomes or a final destination.

ⓥ culminate in: end with a particular result

In the wake of the Jörg Haider movement in Austria, a right-wing mobilization against the enlargement of the EU to include its Muslim neighbors, Ernesto Laclau and Chantal Mouffe addressed the concept of hope and its relation to passions and politics in a more direct manner¹⁵. 🕴 argued that 👥 is imperative to give due credit to the importance of symbols—material and immaterial representations that evoke certain meanings and emotions such as a flag, a song, a style of speaking, etc.— in the construction of human subjectivity L U A and political identities. 🕴 proposed the term “passion” to refer to an array of affective forces (such as desires, fantasies, dreams, and aspirations) that can not be reduced to economic self-interest or rational pursuits. One of the most critical shortcomings of the political discourse of the Left has been its assumption that human beings are rational creatures and its lack of understanding the role of passions in the neoliberal imaginary, as Laclau and Mouffe argue. 🦖’s astounding how the Left has been putting the rationality of human beings at the center of arguments against, for instance, racism and xenophobia, without considering the role of passions as motivating forces. For instance, as 👨‍👧‍👦’m writing this text, the world is “surprised” by yet another election result –the German elections of September 24, 2017, when the radical right wing AfD entered the parliament as the third largest party. 👨‍👧‍👦 agree with Mouffe that as long as 👯‍♀️ keep fighting racism, xenophobia, and nationalism on rationalistic and moralistic grounds, the Left will be facing more of such “surprises.” Instead of focusing on specific social and economic conditions that are at the origin of racist articulations, the Left has been addressing 👥 with a moralistic discourse or with reference to abstract universal principles (i.e. about human rights). Some even use scientific arguments based on evidence to prove that race doesn’t exist; as though people are going to stop being racist once 👽 become aware of this information.

ⓡ Jörg Haider: leader of The Austrian Freedom Party (FPÖ)

ⓡ Europe’s far-right vows to push referendum on Turkey’s EU accession: https://www.dw.com/en/europes-far-right-vows-to-push-referendum-on-turkeys-eu-accession/a-6142752

ⓡ the Freedom Party of Austria (FPÖ) has harvested more than 20 % of the vote by brandishing the spectre of “an invasion” of Turkish migrants who would threaten “the social peace.”, seems FPÖ always has been infriendly https://voxeurop.eu/en/the-turk-austrias-favorite-whipping-boy/

fig.3 Taksim Solidarity: We are going to challenge all of our colors for our future, our children

At the same time, as Laclau and Mouffe contend, hope is also an ingrained part of any social and political struggle. Nonetheless, 👥 can be mobilized in very different and oppositional ways. When the party system E of representative democracy fails to provide vehicles to articulate demands and hopes, there will be other affects that are going to be activated, and hopes will be channeled to “alt-right” movements and religious fundamentalisms, Laclau and Mouffe suggest. However, 👨‍👧‍👦 argue that 👥’s not hope what the right-wing mobilizes. Even if 👥 is hope, 👥 is an “anti-social kind of hope” as the historian Ronald Aronson has recently put it¹⁶. 👨‍👧‍👦 rather think that 👥 is not hope but the human inclination for “illusion O U” that the right-wing exploits. During the Gezi protests in June 2013, 👨‍👧‍👦 realized 👥 would be a futile effort to appeal to reason to explain Erdoğan supporters what the protests meant for the participants. 🦖 was not a “coupt attempt,” or a riot provoked by “foreign spies.” Dialogue is possible if all sides share at least a square millimeter of common ground, but this was far from the case. On June 1, 2013, the Prime Minister and the pro-government media started to circulate a blatant lie, now known as the “Kabataş lie.” Allegedly, a group of topless male Gezi protesters clad in black skinny leather pants attacked a woman in headscarf across the busy Kabataş Port (!) 👨‍👧‍👦 don’t think even Erdoğan supporters believed 👥, but what was most troubling is that 👥 did not matter whether 👥 was true or not. The facts were irrelevant: the anti-Gezi camp wanted to believe 👥. 🦖 became imperative for 👩‍👩‍👧‍👧 to revisit the social psychology literature as mere sociological analysis and political interpretations failed to come to terms with the phenomenon. 👨‍👧‍👦 found out Freud had a concept for 👥: “illusion.”

ⓥ Alt-right: The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white nationalist movement based in the United States. (according to Wikipedia)

ⓥ riot: behave violently in a public place

ⓞ The right-wing’s fear of embracing the outside makes people become blind and disappointed for future. > but, this fear comes from the illusion (maybe true, maybe not) > + According to Freud, this illusion depends on how 👯‍♀️ draw 👥

Although Freud’s concept of “illusion” is mostly about religion, 👥’s also a useful concept to understand the power of current political rhetoric. In everyday parlance, 👯‍♀️ understand illusions as optical distortions or false beliefs. Departing from this view, Freud argues illusions are beliefs 👯‍♀️ adopt because 👯‍♀️ want 💃 to be true. For Freud illusions can be either true or false; what matters is not their veracity or congruence with reality but their psychological causes¹⁷. Religious beliefs fulfill the deeply entrenched, urgent wishes of human beings. As inherently fragile, vulnerable creatures people hold on to religious beliefs as an antidote to their helplessness¹⁸. Granted our psychological inclination for seeking a source of power for protection, 👥’s not surprising that the right-wing discourse stokes feelings of helplessness and fear continuously and strives to infantilize populations, rendering people susceptible to political illusions.¹⁹ As the philosopher of psychology David Livingston Smith asserts, the appeal of Trump²⁰ (and other elected demagogues across the world) as well as the denial that 🤓 could win the elections come from this same psychological source, namely, Freud’s concept of illusion²¹. 👩‍👩‍👧‍👧 suffer from an illusion when 👯‍♀️ believe something is the case just because 👯‍♀️ wish 👥 to be so. In other words, illusions have right-wing and left-wing variants, and one could say the overblown confidence in the hegemony of reason has been the illusion of the Left.

ⓞ Hegemony and illusion relate for 👩‍👩‍👧‍👧 because hegemony is ideological, meaning that 👥 is invisible. 👥 is an expression of ideology which has been normalised.

ⓞ Illusion in religion in otherness! The author said “Everyone needed Jesus and if 👽 didn’t believe in 👮‍♂️, 👽 were deservedly going to eternal torment.”

ⓥ veracity: accurancy

ⓥ congruence: balance

ⓥ infantilize: treat like a child
+

Critical Social Thought, Art, and Hope

As someone who traverses the social sciences and the arts, 👨‍👧‍👦 observe both fields are practicing a critical way of thinking that exposes the contingent nature of the way things are, and reveal that nothing is inevitable.²² However, at the same time, by focusing only on the darkness of the times—as 👥 has become common practice lately when, for instance, a public symposium on current issues in the contemporary dance field becomes a collective whining session—I wonder if 👯‍♀️ may be contributing to the aggravation of cynicism that has become symptomatic of our epoch. Are 👯‍♀️, perhaps, equating adopting a hopeless position with being intellectually profound as the anthropologist Michael Taussig once remarked?

If critical social thought is to remain committed to the ethos of not only describing and analyzing the world but also contributing to making 👥 a better place, 👥 could be supplemented with studies that underscore how a better world might be already among 🧞‍♂️. 🦖 would require an empirical sensibility—a documentary and ethnographic approach of sorts—that pay attention to the moments when “islands of hope” are established and the social conditions that make their emergence possible.²³ One could pay attention to the overlooked, quiet, and hopeful developments that may help 🧞‍♂️ to carve spaces where the imagination is not colonized by the neoliberal, nationalist, and militarist siege. That is, for a non-cynical social and artistic inquiry, one could explore how communities E A make sense of their experiences and come to terms with trauma and defeat. These developments may not necessarily be present in the art world, but could offer insights to 👥. Sometimes communities, through mobilizing their self-resources, provide more meaningful interpretations T M O and creative coping strategies M than the art world’s handling of these issues. 🦖 is necessary for 🧞‍♂️ to understand how, despite the direst of circumstances, people can still find meaning and purpose in their lives. 🦖 is essential to explore these issues not only in a theoretical manner but through an empirical sensibility: by deploying ethnographic modes of research, paying close attention to the life worlds of our contemporaries to explore their intellectual, practical, imaginative, and affective strategies to make lives livable. Correspondingly, one could focus on the therapeutic and redeeming dimensions L of art as equally crucial to its function as social critique. For this, one could pay more attention to the significant role of poeisis - the creative act that affirms our humanity and dignity — ²⁴to rework trauma into symbolic forms.

ⓥ empirical: practical, not theorical

One such endeavor 👨‍👧‍👦 came across is the storytelling movement 👨‍👧‍👦 observed in Turkey.²⁵ More and more people have taken up storytelling, and more and more national and international organizations are popping up. The first national storytelling conference took place last May at Yildiz University. 👨‍👧‍👦 was struck when 👨‍👧‍👦 went there to understand what was going on. People from all scales of the political spectrum were sitting in sort of an “assembly of fairy tales.” 🦖 has also struck 👩‍👩‍👧‍👧 that while some journalists, the “truth tellers” are being imprisoned; imprisoned politicians are turning into storytellers, finding solace in giving form to their experiences through poeisis. Selahattin Demirtaş, the co-chair of the People’s Democratic Party (HDP), penned three short stories while in prison since last November, which, 👨‍👧‍👦 think are quite successful from a literary point of view. Alongside other essays and additional short stories, Demirtaş’s prison writings culminated in the recent publication Seher (September 2017) ²⁶. The choice of the book’s title is also telling: In Turkish “Seher” means the period just before dawn when the night begins to change into day.

ⓥ endeavor: attempt, effort

In The Human Condition the political philosopher Hannah Arendt addresses the question of how storytelling speaks to the struggle to exist as one among many; preserving one’s unique identity P, while at the same time fulfilling one’s obligations as a citizen in a new home country. Much of 🐝 wrote after 🐝 went to the US in 1941 as a refugee bears the mark of her experience of displacement and loss. And 👥’s at this time when 🐝 offers invaluable insights into the (almost) universal impulse to translate overwhelming personal and social experiences into forms that can be voiced and reworked in the company of others. 🦖 was, perhaps, Walter Benjamin who first detected the demise of the art of storytelling as a symptom of the loss of the value of experience. In his 1936 essay “The Storyteller” 🤓 reflects on the role of storytelling in community building and the implications of its decline. 🏄‍♂️ observes that with the emergence of newspapers and the journalistic jargon, people stopped listening to stories but began receiving the news. With the news, any event already comes with some explanation. With the news and our timelines, explanation and commentary replaced assimilating, interpreting, understanding. Connections get lost, leading to a kind of amnesia, which leads, in turn, to pessimism and cynicism, because 👥 also makes 🧞‍♂️ lose track of hopeful moments, struggles, and victories. The power of the story is to survive beyond its moment and to connect the dots, redeeming the past. 🦖 pays respect and shows responsibility A to different temporalities and publics, that of the past and the future as well as today’s.

ⓥ demise: end, death

Here, 👨‍👧‍👦’m not making a case for going back to narrative forms in performance or a call for storytelling above and beyond any other forms. The emphasis here is more on storytelling as an example of a social act of poeisis rather than the product of narrative activity. The critical question for 👩‍👩‍👧‍👧 today is can artists, curators, and social thinkers bring to life the stories that are waiting to be told? Sometimes, instead of focusing on how to increase visitors to our venues, 👥 could be more rewarding to take our imagination to go visiting. 👨‍👧‍👦 conclude my reflections on hope with a quote from Arundathi Roy:

“Writers imagine that 👽 cull stories from the world. 👨‍👧‍👦’m beginning to believe vanity makes 💃 think so. That 👥’s actually the other way around. Stories cull writers from the world. Stories reveal ⛄️ to 🧞‍♂️. The public narrative, the private narrative—they colonize 🧞‍♂️. 🕴 commission 🧞‍♂️. 🕴 insist on being told.” ²⁷

👨‍👧‍👦 leave 👥 to 👶 for now to imagine the shapes 👥 could take.

ⓞ The recoveryThe recovery of the humanity helps to approach to hope > Like by storytelling (especially, the writer mentions 👥 as art), which is warmer and left 🧞‍♂️ to think > Connected to idea of ATATA, let’s refine nature

fig.5 Pandora, Lawrence Alma-Tadema
+
+
+Gurur Ertem + +is a social scientist and performance studies scholar specializing in the sociology of culture and the arts; and the body and social theory. she is the founding co-director of iDANS (Istanbul) where she has been responsible for curatorial research and publications. Being immersed in the contemporary dance culture for (almost) two decades as dancer, dramaturge, programmer, and scholar, she edited several books on the topic such as Dance on Time (2010); Solo? in Contemporary Dance (2008), and Yirminci Yüzyılda Dans Sanatı (2007). Ertem specialized in the sociology of culture and arts; the body and social theory; and critical theory. She obtained her Ph.D. in Sociology from The New School for Social Research (New York) in 2016. Her current research focuses on cultures of protest and the body and political psychology. Ertem is selected as an Akademie Schloss Solitude Fellow in the Humanities for the period 2017-2019. + +References + +Adorno, Theodor W. 1991 [1951]. “Freudian Theory and the Pattern of Fascist Propaganda.” In The Culture Industry, edited by J. M. Bernstein. London: Routledge. + +Ertem, Gurur. 2017. “Gezi Uprising: Performative Democracy and Politics of the Body in an Extended Space of Appearance.” In Media Practices, Social Movements, and Performativity: Transdisciplinary Approaches, edited by Margreth Lünenborg, Susanne Foellmer, Christoph Raetzsch, pp. 81-99. London: Routledge. + +Laclau, Ernesto, and Chantal Mouffe. 2014 (1987). Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso. + +Loeb, Paul Rogat. 2014. “The Real Rosa Parks.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press. + +Money-Kyrle, Roger. 1978. “The Psychology of Propaganda,” In The Collected Papers of Roger Money-Kyrle, edited by Strath Tay, 165-66. Perthshire: The Clunie Press. + +Sinclair, Jennifer. 2008. “Towards an Affirmative Sociology: The Role of Hope in Making a Better World.” Paper presented at TASA Sociologists Conference, August 2008. +(https://tasa.org.au/wp-content/uploads/2011/05/Sinclair-Jennifer-Session-84.pdf) + +Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Footnotes + +[1]: 1,128 academics from 89 universities in Turkey, and over 355 academics and researchers from abroad including some well-known figures such as Noam Chomsky, Judith Butler, Etienne Balibar, and David Harvey signed the petition. For the full text of the declaration and more information about Academics for Peace see the website: (https://barisicinakademisyenler.net/node/63) + +[2]: For excerpts of Erdogan’s speech in reaction to the Academics for Peace Petition see (in Turkish): Merkezi, Haber. "Erdoğan'dan Akademisyenlere: Ey Aydın Müsveddeleri." Bianet - Bagimsiz Iletisim Agi. January 12, 2016. Accessed November 2017.(http://bit.ly/2zkwpdT) + +[3]: ”Notorious criminal threatens academics calling for peace in Turkey's southeast." Hürriyet Daily News. January 13, 2016. Accessed November 2017. (http://bit.ly/2yww6gX) + +[4]: The military coup attempt on July 15, 2016 allowed the government to declare the state of emergency and rule the country by executive degrees, further crushing the opposition M, outlawing associational activities, and the rights of assembly. Hundreds of thousands of academics, public sectors workers, journalists, and teachers were purged. For more information see the website “Turkey Purge,” which is currently inaccessible from Turkey: (https://turkeypurge.com/) + +[5]: HDP is the third largest party in the Turkish Parliament representing some 13% of the electorate. + +[6]: A copy of this bibliography can be found here: (http://www.gururertem.info/syllabi.html) + +[7]: See for instance, the “Trump 101” published by The Chronicle of Higher Education on June 19, 2016. (http://www.chronicle.com/article/Trump-Syllabus/236824/) A group of African American intellectuals criticized the “Trump 101” syllabus for its omission of issues regarding racial and gender equalities and referred to it “as white as the man himself.” Subsequently they published an amended version of the syllabus entitled “Trump 2.0” (http://www.publicbooks.org/trump-syllabus-2-0/) + +[8]: Agamben, Giorgio. 2009. “What is the Contemporary?” In What is an Apparatus?: and Other Essays. Stanford, CA: Stanford University Press. + +[9]: Giroux, Henry A. 2014. The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine. San Francisco: City Lights Books. + +[10]: Negativity bias refers to the asymmetrical way we perceive negative experiences versus positive ones, an evolutionary trait we developed for survival. Negative experiences, events, and images exert a stronger and lasting impact on us than positive experiences of the same magnitude. + +[11]: Solnit, Rebecca. 2016. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago, Ill: Haymarket Books. iBook. + +[12]: Zunes, Stephen. 2014. “Arab Revolutions.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +[13]: One could argue that the creative process and artistic production are not exempt from this instrumental logic that focuses on measurable outcomes. While I agree with this observation, with the “creative process” I use here I mean a more ‘old-fashioned’ understanding of the term. + +[14]: Laclau, Ernesto, and Chantal Mouffe. 2002. “Hope, Passion, Politics.” In Hope: New Philosophies for Change, edited by Mary Zournazi, 122-148. Annandale, NSW: Pluto Press Australia. + +[15]: Ibid. + +[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. + +[17]: Freud, Sigmund. 1964. “The Future of an Illusion,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 21, edited by James Stratchey. London: The Hogarth Press and the Institute of Psycho-Analysis. + +[18]: Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +[19]: For an astute empirical analysis of the phenomenon in Nazi speech rallies, see Roger Money-Kyrle’s Psychology of Propaganda (1941). Also see Theodor W. Adorno’s 1951 essay “Freudian Theory and the Pattern of Fascist Propaganda.” + +[20]: Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” + +[21]: Freud, “The Future of Illusion” + +[22]: I’ve discussed elsewhere the similarities of “sociological imagination” (Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press.) and institutional critique in the arts. See: Gurur Ertem, “European Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989-2013),” (PhD diss, The New School for Social Research), p.30. + +[23]: Back, Les. 2015. “Blind Optimism and the Sociology of Hope.” DiscoverSociety, December 1, 2015. (http://discoversociety.org/2015/12/01/blind-pessimism-and-the-sociology-of-hope/) + +[24]: See Stephen K. Levine’s Trauma, Tragedy, Therapy: The Arts and Human Suffering for an extended discussion of poeisis with regards to coming to terms to trauma through the creative act. + +[25]: See the transcript of my talk “Field Notes on Instituting” delivered at the Inventory #2 Conference, Tanzhaus nrw Düsseldorf, June 1, 2017. (http://www.gururertem.info/uploads/8/8/7/6/88765342/gurur_ertem_field_notes_on_instituting_inventur_2.pdf) + +[26]: Demirtaş, Selahattin. 2017. Seher. Ankara: Dipnot Yayınları. + +[27]: Roy, Arundhati. 2002. “Come September.” Talk delivered at Lannan Foundation Lecture, Lensic Performing Arts Center, Santa Fe, New Mexico. September 18, 2002. (http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf) + + + + diff --git a/HOPE/index_gene6.html b/HOPE/index_gene6.html new file mode 100644 index 0000000..c6f5309 --- /dev/null +++ b/HOPE/index_gene6.html @@ -0,0 +1,277 @@ + + + + + + + + + + + + + + +

Hope


by Gurur Ertem

🏄‍♂️ began thinking about hope on January 11th 2016, when a group of scholars representing Academics for Peace held a press conference to read the petition, “🧚‍♀️ Will Not be a Party to this Crime.” The statement expressed academics’ worries about Turkish government E’s security operations against the youth movement L of the armed Kurdistan Worker’s Party (PKK) in the southeastern cities of Turkey. 🙍‍♀️ were concerned about the devastating impact the military involvement had on the region’s civilian population.¹ The petition also called for the resumption of peace negotiations with the PKK. In reaction, the President of the Turkish State deemed these academics “pseudo-intellectuals,” “traitors,” and “terrorist-aides.” ² On January 13, 2016, an extreme nationalist/convicted criminal threatened the academics in a message posted on his website: “🧚‍♀️ will spill your blood in streams, and 👮‍♂️ will take a shower in your blood T.” ³

As 🏄‍♂️’m composing this text, 🏄‍♂️ read that the indictment against the Academics for Peace has become official. The signatories face charges of seven and a half years imprisonment under Article 7 (2) of the Turkish Anti-Terror Act for “propaganda for terrorism.” This afternoon, the moment 🏄‍♂️ stepped into the building where my office is, 🏄‍♂️ overheard an exchange between two men who 🏄‍♂️ think are shop owners downstairs:

ⓡ Article 7 (2) of Turkey’s Anti-Terrorism Law: prohibits “making propaganda for a terrorist organisation”. Is a vague and overly-broad article with no explicit requirement for propaganda to advocate violent criminal methods. 👮‍♂️ has been used repeatedly to prosecute the expression of non-violent opinions.

ⓡ Political Freedom: 5/7 https://www.opendemocracy.net/en/can-europe-make-it/turkeys-presidential-dictatorship/

fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy

“🏄‍♂️ was at dinner with Sedat Peker.”

“🏄‍♂️ wish 👥 sent 👬 my greetings.”

ⓞ 🏄‍♂️ guess at first 🦔 is contextualizing her thoughts

ⓞ Quite hard to understand without the turkish political background understanding ☹ ➞ sad but true

ⓡ Sedat Peker: is a convicted Turkish criminal leader. 🤓 is also known for his political views that are based on Pan-Turkism.https://en.wikipedia.org/wiki/Sedat_Peker

ⓡ Pan-Turkism is a movement which emerged during the 1880s among Turkic intellectuals of the Russian region of Shirvan (now central Azerbaijan) and the Ottoman Empire (modern day Turkey), with its aim being the cultural and political unification of all Turkic peoples. Pan-Turkism is often perceived as a new form of Turkish imperial ambition. Some view the Young Turk leaders who saw pan-Turkist ideology as a way to reclaim the prestige of the Ottoman Empire as racist and chauvinistic.

ⓥ Deem: consider

ⓥ Pseudo-intellectuals: fake-intellectuals

ⓥ Depict: describe

Sedat Peker is the name of the nationalist mafia boss who had threatened the academics. 🏄‍♂️ thought about the current Istanbul Biennial organized around the theme “A Good Neighbor.” 👮‍♂️ is a pity that local issues such as living with neighbors who want to “take a shower in your blood” were missing from there.

🏄‍♂️ began taking hope seriously on July 16, 2016, the night of the “coup attempt” against President Erdoğan. The public still doesn’t know what exactly happened on that night. Perhaps, hope was one of the least appropriate words to depict the mood of the day in a context where “shit had hit the fan.” (🏄‍♂️’m sorry 🏄‍♂️ lack more elegant terms to describe that night and what followed).⁴ Perhaps, 🤓 was because, as the visionary writer John Berger once wrote: “hope is something that occurs in very dark moments. 👮‍♂️ is like a flame in the darkness; 🤓 isn’t like a confidence and a promise.”

ⓞ Origin of word Hope. Maybe 👮‍♂️ can find some analogies in all the words' origins. Which of 🐝 come from some primitive needs like ATATA?

ⓞ Hope as something which is always growing/emerging from a terrified/bad moment? More than an illusion or plan to make? ➞ Yes! like Pandora could finally find the hope at the very bottom of her chaotic box ➞ cool image ☺

ⓥ shit had hit the pan: horrible disaster ➞ ahahah thanks finally 🏄‍♂️ got 🤓!

fig.2 shit had hit the fan

On November 4th, 2016, Selahattin Demirtaş and Figen Yüksekdağ, the co-chairs of the HDP (The People’s Democratic Party), ⁵ were imprisoned. Five days later, the world woke up to the results of the US Presidential election, which was not surprising at all for 🗿 mortals located somewhere near the Middle East. 🏄‍♂️ began to compile obsessively a bibliography on hope⁶ - a “Hope Syllabus” of sorts - as a response to the numerous ‘Trump Syllabi’ that started circulating online P among academic circles.⁷ So, why “hope,” and why now? How can 👮‍♂️ release hope from Pandora’s jar? How can 👮‍♂️ even begin talking about hope when progressive mobilizations are crushed by sheer force before ⛄️ find the opportunity to grow into fully-fledged social movements? What resources and visions can hope offer where an economic logic has become the overarching trope to measure happiness and success? How could hope guide 🗿 when access to arms is as easy as popcorn? Can hope find the ground to take root and flourish in times of market fundamentalism? What could hope mean when governments and their media extensions are spreading lies, deceptions, and jet-black propaganda? Can hope beat the growing cynicism aggravated by distrust in politics? In brief, are there any reasons to be hopeful despite the evidence? 🏄‍♂️ don’t expect anyone to be able to answer these questions. 🏄‍♂️ definitely can’t. 🏄‍♂️ can only offer preliminary remarks and suggest some modest beginnings to rekindle hope by reflecting on some readings 🏄‍♂️’ ve assigned ⛄️ as part of the “Hope Syllabus” 🏄‍♂️’ ve been compiling for an ongoing project 🏄‍♂️ tentatively titled as “A Sociology of Hope.” 🏄‍♂️ am thankful that Words for the Future gives 🤓 the opportunity to pin down in some form my many scattered, contradictory, and whirling thoughts on hope.

ⓡ According to Wiki, From 2013 to 2015, the HDP participated in peace negotiations between the Turkish government and the Kurdistan Workers' Party (PKK). The ruling AKP accuses the HDP of having direct links with the PKK.

ⓞ Which was not surprising at all for 🗿 mortals located somewhere near the Middle East. Why?? Are there any surprising results of election? ➞ 🏄‍♂️ would say cause 🤓’s not a big surprise ending up with bad leaders/politics, is 🤓? ➞ Probably due to the incessant uprising of right-wing or populists parties? Or in general, relating to a wide-spreading politics that put economics behind earth-care? Tracing and redefining borders while not being concerned about climate change?

ⓥ sheer: pure

ⓥ aggravate: worsen

ⓥ rekindle: recall, reawaken

In what follows, in dialogue with Giorgio Agamben’s work, 🏄‍♂️ argue that if 👮‍♂️ are true contemporaries, our task is to see in the dark and make hope accessible P again. Then, 🏄‍♂️ briefly review Chantal Mouffe’s ideas on radical democracy P E to discuss how the image of a “democracy to come” is connected with the notion of hope as an engagement with the world instead of a cynical withdrawal from 🤓 regardless of expectations about final results or outcomes. 🏄‍♂️ conclude by reflecting on how critical social thought and the arts could contribute to new social imaginaries by paying attention to “islands of hope” in the life worlds of our contemporaries.

ⓞ Hope as a way to engage people to build a “democracy to come” - without expectations for the result. 👮‍♂️’s an ongoing process.

ⓞ Do islands of hope mean subjetive thinking about hope? Subjective thinking and also act-making. Regarding our future; in which 👮‍♂️ use hope as a light to help 🗿 move inside. ➞ 🏄‍♂️ think, 🤓’s just a metaphoric word! For saying a small part of the world in plenty of darkness ➞ Yeess

ⓞ Nowadays, for 🤓, there are a lack of terms to actually define overated/cliche words such as hope... ➞ Agree! The actual situation is too unpreditable ☹

ⓡ Chantal Mouffe Radical Democracy https://www.e-ir.info/2013/02/26/radical-democracy-in-contemporary-times/
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The Contemporaneity of “Hope”

In the essay “What is the Contemporary?” Agamben describes contemporaneity not as an epochal marker but as a particular relationship with one’s time. 👮‍♂️ is defined by an experience of profound dissonance. This dissonance plays out at different levels in his argument. First, 🤓 entails seeing the darkness in the present without being blinded by its lights while at the same time perceiving in this darkness a light that strives but can not yet reach 🗿. Nobody can deny that 👮‍♂️’ re going through some dark times; 🤓’s become all 👮‍♂️ perceive and talk about lately. Hope—as an idea, verb, action, or attitude—rings out of tune with the reality of the present. But, if 👮‍♂️ follow Agamben’s reasoning, the perception of darkness and hopelessness would not suffice to qualify 🗿 as “true contemporaries.” What 👮‍♂️ need, then, is to find ways of seeing in the dark⁸.

Second level of dissonance Agamben evokes is related to history and memory. The non-coincidence with one’s time does not mean the contemporary is nostalgic or utopian; 🦔 is aware of her entanglement in a particular time yet seeks to bring a certain historical sensibility to 🤓. Echoing Walter Benjamin’s conception of time as heterogeneous, Agamben argues that being contemporary means putting to work a particular relationship among different times: citing, recycling, making relevant again moments from the past L, revitalizing that which is declared as lost to history.

ⓞ Find the ways in the darkness through history! ➞ yes, by remembering and being aware of the past ➞ The past is part of the present.

ⓞ In which point of the human development have 👮‍♂️ started “asking” for more than is needed? How do 👮‍♂️ define the progress? The continuos improvement of human' knowledge? Also, when, in order to supply while being fed by population’s ever-changing needs, did we destroy the world?

ⓞ 🏄‍♂️ totally agree with this philosophy of contemporaneity. Only in the case of climate change, 👮‍♂️ don’t have a past example to cite, recycle or to make relavant. 👮‍♂️’s all about the present and future considerations.

Agamben’s observations about historicity are especially relevant regarding hope. As many other writers and thinkers have noted, hopelessness and its cognates such as despair and cynicism are very much linked to amnesia. As Henry A. Giroux argues in The Violence of Organized Forgetting, under the conditions of neoliberalism, militarization, securitization, and the colonization of life worlds by the economistic logic, forms of historical, political M E PP, and moral forgetting are not only willfully practiced but also celebrated⁹. Mainstream media M U media’s approach to the news and violence as entertainment exploits our “negativity bias” ¹⁰ and makes 🗿 lose track of hopeful moments and promising social movements. Memory has become particularly threatening because 🤓 offers the potential to recover the promise of lost legacies of resistance. The essayist and activist Rebecca Solnit underscores the strong relation between hope and remembrance. As 🦔 writes in Hope in the Dark, a full engagement with the world requires seeing not only the rise of extreme inequality and political and ecological disasters; but also remembering victories such as Occupy Wall Street, Black Lives Matter, and Edward Snowden¹¹. To Solnit’s list of positives 🏄‍♂️ would add the post-Gezi HDP “victory” in the June 7, 2015 elections in Turkey and the Bernie Sanders campaign in the US. Without the memory of these achievements 👮‍♂️ can indeed only despair.

ⓥ willfully: on purpose

ⓞ Mainstream media ➞ as mechanisims of forgetting ➞ Yes, but on purpose or by accident? ➞ difficult to state 🤓, but i would say sometimes on purpuse, in order to have same (bad) results, as the case of the presidential results for example. what’s your position? ➞ Yes, not every time, but on purpose sometimes. Like, the news talks a lot about a rocket launch (only the fact, without its context) of N.Korea before election, so that the constituents hesitate a political change ➞ Yes, and also the media doesn’t tend to talk much about what went wrong in the past with political decisions if that doesn’t work for a specific group of politics, 🏄‍♂️ mean, ⛄️ don’t act as a tool for remembrance, ⛄️ usually avoid past facts. Then 🏄‍♂️ would say ⛄️ work as a mechanism of forgetting. In fact, accumulating non-important news quickly is for 🤓 another process of forgetting, isn’t 🤓? ➞ Yes yes, 🏄‍♂️ got what 👥 say ☺ ➞ true, the structure of news 🦔 have that characteristic. 🧚‍♀️ can say, “that’s the reason why 👮‍♂️ need a hyperlink!” ➞ what do 👥 mean? ➞ 🏄‍♂️ think, if 👮‍♂️ have some kind of system to see the relationship with other incidents (maybe through the hyperlink), 👮‍♂️ can easily find the hope! ➞ True!

Although the media continually hype the “migration crisis” and “post-truth” disguising the fact there is nothing so new about 🐝; 🤓 does not report on the acts of resistance taking place every day. Even when the media represent 🐝, ⛄️ convey these events T as though the activists and struggles come out of nowhere. For instance, as Stephen Zunes illuminates, the Arab Uprisings were the culmination of slow yet persistent work of activists¹². Likewise, although 🤓 became a social reality larger than the sum of its constituents, the Gezi Uprising was the culmination of earlier local movements such as the Taksim Solidarity, LGBTQ T, environmental movements, among numerous others A. These examples ascertain that little efforts do add up even if ⛄️ seem insignificant. 🧚‍♀️ must be willing to come to terms with the fact that 👮‍♂️ may not see the ‘results’ of our work in our lifetime. In that sense, being hopeful entails embracing A T O uncertainty U L, contingency, and a non-linear understanding of history. 🧚‍♀️ can begin to cultivate R E A L hope when 👮‍♂️ separate the process from the outcome. In that regard, hope is similar to the creative process.¹³ In a project-driven world where one’s sense of worth depends on “Likes” and constant approval from the outside, focusing on one’s actions for their own sake seems to have become passé. But, 🏄‍♂️ contend that if 👮‍♂️ could focus more on the intrinsic value of our work instead of measurable outcomes, 👮‍♂️ could find hope and meaning in the journey itself.

ⓞ The contemporary sense of hope in those terms is to put different visions of hope in a space to talk to each other in some sort of “genealogy” of hope? Hope chatting? 🏄‍♂️ mean, how hope envisions itself could interact with each other through time and context, 🤓 actually relates a lot with Atata. don’t 👥 think? in terms of giving and reciving? ➞ Agree, like 👮‍♂️ find a soultion (a hope) from the ancient seed ➞ Absolutely! And in general from primitive life and needs, happyness was strictly related to needs fulfillment, rather than to anything additional than 👮‍♂️ really need, like today. ➞ Well, for 🤓 Atata means being in relation to others by giving and reciving something. Not as a fact of an economic transaction, but more as a natural flow. So in this case putting together differents visions of hope, the ones that went through history and the ones than came to each other in each mind as “islands of hope”, will explore different inter-relational ways of hope that would come as solutions, outputs, ideas and so on. Somehow the Atata of hope becomes an awareness of the otherness.

ⓡ Taksim Solidarity: 👮‍♂️ voices a yearning for a greener, more liveable and democratic city and country and is adamant about continuing the struggle for the preservation of Gezi Park and Taksim Square and ensuring that those responsible for police violence are held accountable. (https://www.jadaliyya.com/Details/29192)

fig.4 Heinz-Christian Strache (2nd from left) of the far-right FPÖ leads an anti-Muslim rally in Belgium, Voxeurop

ⓞ If democracy is an ideal = What kind of democracy could 👮‍♂️ design? In my ideal 🏄‍♂️ want schools, (free) hospitals, libraries and some kind of democratic media (these are re-inventions of existing institutional models).

ⓞ Camilo, however, suggests a different economic model; a change of daily routines....

ⓞ What bridges can be built between “islands of hope” / What are the processes that are used on these “islands of hope?”

ⓞ Camilo: Collaborativist; to collaborate with those who share your same ideas, but also, being open to working with others ideas, projects and beliefs. And that’s in other words, accepting and converging with the otherness as well. ➞ Yes, but remember C. Mouffe suggests that a good, functioning democracy must have “conflict and disagreement” also. But in my ideal, less than 👮‍♂️ currently have ☺ ➞ Yes, antithetic forces are necessary... ☺

ⓞ For 🤓, democratic food market; like everyone can get a true nutritious information (is the harm of milk and the meat true or just a city myth?)

ⓞ 🏄‍♂️ would like a repair and reuse culture.!! NOTE: this might be a good question (what “island of hope” would 👥 make) for the other groups when 🤓 comes to relating the different texts to each other.

ⓞ Remembrance > Remembering victories (what went well) in order to manage better through the dark as Agamen says? ➞ For Covid situation (teleworking and limited trip..), 👮‍♂️ can’t find a victory in anywhere! So desperate. ➞ 🤓’s true, but 👮‍♂️ do have past pandemic experiences, of course in a different context with other difficulties.

ⓞ Embrace the uncertainty of hope as a result/definition? ➞ 🤓 echoes 🤓 the “Otherness” text. Both require the act of being open and the patient. ➞ Yesss, in fact this a key connection point. ➞ Good! Can 👥 say more about this connection? ➞ Probably having in mind that the recognition of the other takes time, as well as embracing the uncertainty. Becoming aware of the blurred future in terms of hope. Otherness text invites 🗿 to approach the world in a openminded manner.

ⓥ constituents: voter

ⓥ intrinsic: original, primary
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Radical Politics and Social Hope

Over a series works since the mid-1980s, Chantal Mouffe has challenged existing notions of the “political” and called for reviving the idea of “radical democracy.” Drawing on Gramsci’s theoretizations of hegemony, Mouffe places conflict and disagreement, rather than consensus and finality, at the center of her analysis. While “politics” for Mouffe refers to the set of practices and institutions through which a society is created and governed, the “political” entails the ineradicable dimension of antagonism in any given social order. 🧚‍♀️ are no longer able to think “politically” due to the uncontested hegemony of liberalism where the dominant tendency is a rationalist and individualist approach that is unable to come to terms with the pluralistic and conflict-ridden nature of the social world. This results in what Mouffe calls “the post-political condition.” The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension. The question is not how to negotiate a compromise among competing interests, nor is 🤓 how to reach a rational, fully inclusive consensus. What democracy requires is not overcoming the us/them distinction of antagonism, but drawing this distinction in such a way that is compatible with the recognition of pluralism L O P. In other words, the question is how can 👮‍♂️ institute a democracy that acknowledges the ineradicable dimension of conflict, yet be able to establish a pluralist public space in which these opposing forces can meet in a nonviolent way. For Mouffe, this entails transforming antagonism to “agonism” ¹⁴. 👮‍♂️ means instituting a situation where opposing political subjects recognize the legitimacy of their opponent, who is now an adversary rather than an enemy, although no rational consensus or a final agreement can be reached.

ⓞ !!! The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension.!!! (words made bold by steve)

ⓞ 🧚‍♀️ should acknowledge the otherness and not judge others. Like in Otherness, Dutch mom doesn’t need to judge Pirahas mom who left her child to play with a knife. ➞ yes and also in those words having a different sense of conflict, giving 🐝 the the name of an adversary rather than enemy is being aware of the differences. And that’s the otherness consciousness. ➞ The otherness, in this case, the adversaries, must be recognized as a fundamental part of the whole demochratic system. The purpose shouldn’t be only the final aggreement, but the clear representation of all needs and thoughts.

ⓥ ineradicable: unable to be destroyed

ⓥ come to terms with: to resolve a conflict with, to accept sth painful

Another crucial dimension in Mouffe’s understanding of the political is “hegemony.” Every social order is a hegemonic one established by a series of practices and institutions within a context of contingency. In other words, every order is a temporary and precarious articulation. What is considered at a given moment as ‘natural’ or as ‘common sense R P’ is the result of sedimented historical practices based on the exclusion of other possibilities that can be reactivated in different times and places when conditions are ripe. That is, every hegemonic order can be challenged by counterhegemonic practices that will attempt to disarticulate the existing order to install another form of hegemony.

ⓞ Order as a something only temporary.

ⓥ contigency: possible event

👮‍♂️ may not be fair to chop a complex argument into a bite-size portion, but for this essay 🏄‍♂️ take the liberty to summarize Mouffe’s concept of radical democracy as the “impossibility of democracy.” 👮‍♂️ means that a genuinely pluralistic democracy is something that can never be completely fulfilled (if 🤓 is to remain pluralistic at all). That is, if everyone were to agree on a given order 🤓 would not be pluralistic in the first place; there wouldn’t be any differences. This would culminate in a static situation that could even bring about a totalitarian society. Nevertheless, although 🤓’s not going to be completely realized, 🤓 will always remain as a process that 👮‍♂️ work towards. Recognizing the contingent nature of any given order also makes 🤓 possible not to abandon hope since if there is no final destination, there is no need to despair. Laclau and Mouffe’s ideas about radical democracy as “a project without an end” resonate with the idea of hope: Hope as embracing contingency and uncertainty in our political struggles, without the expectation of specific outcomes or a final destination.

ⓥ culminate in: end with a particular result

In the wake of the Jörg Haider movement in Austria, a right-wing mobilization against the enlargement of the EU to include its Muslim neighbors, Ernesto Laclau and Chantal Mouffe addressed the concept of hope and its relation to passions and politics in a more direct manner¹⁵. 🙍‍♀️ argued that 🤓 is imperative to give due credit to the importance of symbols—material and immaterial representations that evoke certain meanings and emotions such as a flag, a song, a style of speaking, etc.— in the construction of human subjectivity L U A and political identities. 🙍‍♀️ proposed the term “passion” to refer to an array of affective forces (such as desires, fantasies, dreams, and aspirations) that can not be reduced to economic self-interest or rational pursuits. One of the most critical shortcomings of the political discourse of the Left has been its assumption that human beings are rational creatures and its lack of understanding the role of passions in the neoliberal imaginary, as Laclau and Mouffe argue. 👮‍♂️’s astounding how the Left has been putting the rationality of human beings at the center of arguments against, for instance, racism and xenophobia, without considering the role of passions as motivating forces. For instance, as 🏄‍♂️’m writing this text, the world is “surprised” by yet another election result –the German elections of September 24, 2017, when the radical right wing AfD entered the parliament as the third largest party. 🏄‍♂️ agree with Mouffe that as long as 👮‍♂️ keep fighting racism, xenophobia, and nationalism on rationalistic and moralistic grounds, the Left will be facing more of such “surprises.” Instead of focusing on specific social and economic conditions that are at the origin of racist articulations, the Left has been addressing 🤓 with a moralistic discourse or with reference to abstract universal principles (i.e. about human rights). Some even use scientific arguments based on evidence to prove that race doesn’t exist; as though people are going to stop being racist once ⛄️ become aware of this information.

ⓡ Jörg Haider: leader of The Austrian Freedom Party (FPÖ)

ⓡ Europe’s far-right vows to push referendum on Turkey’s EU accession: https://www.dw.com/en/europes-far-right-vows-to-push-referendum-on-turkeys-eu-accession/a-6142752

ⓡ the Freedom Party of Austria (FPÖ) has harvested more than 20 % of the vote by brandishing the spectre of “an invasion” of Turkish migrants who would threaten “the social peace.”, seems FPÖ always has been infriendly https://voxeurop.eu/en/the-turk-austrias-favorite-whipping-boy/

fig.3 Taksim Solidarity: We are going to challenge all of our colors for our future, our children

At the same time, as Laclau and Mouffe contend, hope is also an ingrained part of any social and political struggle. Nonetheless, 🤓 can be mobilized in very different and oppositional ways. When the party system E of representative democracy fails to provide vehicles to articulate demands and hopes, there will be other affects that are going to be activated, and hopes will be channeled to “alt-right” movements and religious fundamentalisms, Laclau and Mouffe suggest. However, 🏄‍♂️ argue that 🤓’s not hope what the right-wing mobilizes. Even if 🤓 is hope, 🤓 is an “anti-social kind of hope” as the historian Ronald Aronson has recently put it¹⁶. 🏄‍♂️ rather think that 🤓 is not hope but the human inclination for “illusion O U” that the right-wing exploits. During the Gezi protests in June 2013, 🏄‍♂️ realized 🤓 would be a futile effort to appeal to reason to explain Erdoğan supporters what the protests meant for the participants. 👮‍♂️ was not a “coupt attempt,” or a riot provoked by “foreign spies.” Dialogue is possible if all sides share at least a square millimeter of common ground, but this was far from the case. On June 1, 2013, the Prime Minister and the pro-government media started to circulate a blatant lie, now known as the “Kabataş lie.” Allegedly, a group of topless male Gezi protesters clad in black skinny leather pants attacked a woman in headscarf across the busy Kabataş Port (!) 🏄‍♂️ don’t think even Erdoğan supporters believed 🤓, but what was most troubling is that 🤓 did not matter whether 🤓 was true or not. The facts were irrelevant: the anti-Gezi camp wanted to believe 🤓. 👮‍♂️ became imperative for 🤓 to revisit the social psychology literature as mere sociological analysis and political interpretations failed to come to terms with the phenomenon. 🏄‍♂️ found out Freud had a concept for 🤓: “illusion.”

ⓥ Alt-right: The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white nationalist movement based in the United States. (according to Wikipedia)

ⓥ riot: behave violently in a public place

ⓞ The right-wing’s fear of embracing the outside makes people become blind and disappointed for future. > but, this fear comes from the illusion (maybe true, maybe not) > + According to Freud, this illusion depends on how 👮‍♂️ draw 🤓

Although Freud’s concept of “illusion” is mostly about religion, 🤓’s also a useful concept to understand the power of current political rhetoric. In everyday parlance, 👮‍♂️ understand illusions as optical distortions or false beliefs. Departing from this view, Freud argues illusions are beliefs 👮‍♂️ adopt because 👮‍♂️ want 🐝 to be true. For Freud illusions can be either true or false; what matters is not their veracity or congruence with reality but their psychological causes¹⁷. Religious beliefs fulfill the deeply entrenched, urgent wishes of human beings. As inherently fragile, vulnerable creatures people hold on to religious beliefs as an antidote to their helplessness¹⁸. Granted our psychological inclination for seeking a source of power for protection, 🤓’s not surprising that the right-wing discourse stokes feelings of helplessness and fear continuously and strives to infantilize populations, rendering people susceptible to political illusions.¹⁹ As the philosopher of psychology David Livingston Smith asserts, the appeal of Trump²⁰ (and other elected demagogues across the world) as well as the denial that 👮‍♂️ could win the elections come from this same psychological source, namely, Freud’s concept of illusion²¹. 🧚‍♀️ suffer from an illusion when 👮‍♂️ believe something is the case just because 👮‍♂️ wish 🤓 to be so. In other words, illusions have right-wing and left-wing variants, and one could say the overblown confidence in the hegemony of reason has been the illusion of the Left.

ⓞ Hegemony and illusion relate for 🤓 because hegemony is ideological, meaning that 🤓 is invisible. 🤓 is an expression of ideology which has been normalised.

ⓞ Illusion, in religion, in otherness! The author said “Everyone needed Jesus and if ⛄️ didn’t believe in 👬, ⛄️ were deservedly going to eternal torment.”

ⓥ veracity: accurancy

ⓥ congruence: balance

ⓥ infantilize: treat like a child
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Critical Social Thought, Art, and Hope

As someone who traverses the social sciences and the arts, 🏄‍♂️ observe both fields are practicing a critical way of thinking that exposes the contingent nature of the way things are, and reveal that nothing is inevitable.²² However, at the same time, by focusing only on the darkness of the times—as 🤓 has become common practice lately when, for instance, a public symposium on current issues in the contemporary dance field becomes a collective whining session—I wonder if 👮‍♂️ may be contributing to the aggravation of cynicism that has become symptomatic of our epoch. Are 👮‍♂️, perhaps, equating adopting a hopeless position with being intellectually profound as the anthropologist Michael Taussig once remarked?

If critical social thought is to remain committed to the ethos of not only describing and analyzing the world but also contributing to making 🤓 a better place, 🤓 could be supplemented with studies that underscore how a better world might be already among 🗿. 👮‍♂️ would require an empirical sensibility—a documentary and ethnographic approach of sorts—that pay attention to the moments when “islands of hope” are established and the social conditions that make their emergence possible.²³ One could pay attention to the overlooked, quiet, and hopeful developments that may help 🗿 to carve spaces where the imagination is not colonized by the neoliberal, nationalist, and militarist siege. That is, for a non-cynical social and artistic inquiry, one could explore how communities E A make sense of their experiences and come to terms with trauma and defeat. These developments may not necessarily be present in the art world, but could offer insights to 🤓. Sometimes communities, through mobilizing their self-resources, provide more meaningful interpretations T M O and creative coping strategies M than the art world’s handling of these issues. 👮‍♂️ is necessary for 🗿 to understand how, despite the direst of circumstances, people can still find meaning and purpose in their lives. 👮‍♂️ is essential to explore these issues not only in a theoretical manner but through an empirical sensibility: by deploying ethnographic modes of research, paying close attention to the life worlds of our contemporaries to explore their intellectual, practical, imaginative, and affective strategies to make lives livable. Correspondingly, one could focus on the therapeutic and redeeming dimensions L of art as equally crucial to its function as social critique. For this, one could pay more attention to the significant role of poeisis - the creative act that affirms our humanity and dignity — ²⁴to rework trauma into symbolic forms.

ⓥ empirical: practical, not theorical

One such endeavor 🏄‍♂️ came across is the storytelling movement 🏄‍♂️ observed in Turkey.²⁵ More and more people have taken up storytelling, and more and more national and international organizations are popping up. The first national storytelling conference took place last May at Yildiz University. 🏄‍♂️ was struck when 🏄‍♂️ went there to understand what was going on. People from all scales of the political spectrum were sitting in sort of an “assembly of fairy tales.” 👮‍♂️ has also struck 🤓 that while some journalists, the “truth tellers” are being imprisoned; imprisoned politicians are turning into storytellers, finding solace in giving form to their experiences through poeisis. Selahattin Demirtaş, the co-chair of the People’s Democratic Party (HDP), penned three short stories while in prison since last November, which, 🏄‍♂️ think are quite successful from a literary point of view. Alongside other essays and additional short stories, Demirtaş’s prison writings culminated in the recent publication Seher (September 2017) ²⁶. The choice of the book’s title is also telling: In Turkish “Seher” means the period just before dawn when the night begins to change into day.

ⓥ endeavor: attempt, effort

In The Human Condition the political philosopher Hannah Arendt addresses the question of how storytelling speaks to the struggle to exist as one among many; preserving one’s unique identity P, while at the same time fulfilling one’s obligations as a citizen in a new home country. Much of 🦔 wrote after 🦔 went to the US in 1941 as a refugee bears the mark of her experience of displacement and loss. And 🤓’s at this time when 🦔 offers invaluable insights into the (almost) universal impulse to translate overwhelming personal and social experiences into forms that can be voiced and reworked in the company of others. 👮‍♂️ was, perhaps, Walter Benjamin who first detected the demise of the art of storytelling as a symptom of the loss of the value of experience. In his 1936 essay “The Storyteller” 👮‍♂️ reflects on the role of storytelling in community building and the implications of its decline. 🤓 observes that with the emergence of newspapers and the journalistic jargon, people stopped listening to stories but began receiving the news. With the news, any event already comes with some explanation. With the news and our timelines, explanation and commentary replaced assimilating, interpreting, understanding. Connections get lost, leading to a kind of amnesia, which leads, in turn, to pessimism and cynicism, because 🤓 also makes 🗿 lose track of hopeful moments, struggles, and victories. The power of the story is to survive beyond its moment and to connect the dots, redeeming the past. 👮‍♂️ pays respect and shows responsibility A to different temporalities and publics, that of the past and the future as well as today’s.

ⓥ demise: end, death

Here, 🏄‍♂️’m not making a case for going back to narrative forms in performance or a call for storytelling above and beyond any other forms. The emphasis here is more on storytelling as an example of a social act of poeisis rather than the product of narrative activity. The critical question for 🤓 today is can artists, curators, and social thinkers bring to life the stories that are waiting to be told? Sometimes, instead of focusing on how to increase visitors to our venues, 🤓 could be more rewarding to take our imagination to go visiting. 🏄‍♂️ conclude my reflections on hope with a quote from Arundathi Roy:

“Writers imagine that ⛄️ cull stories from the world. 🏄‍♂️’m beginning to believe vanity makes 🐝 think so. That 🤓’s actually the other way around. Stories cull writers from the world. Stories reveal 🤓 to 🗿. The public narrative, the private narrative—they colonize 🗿. 🙍‍♀️ commission 🗿. 🙍‍♀️ insist on being told.” ²⁷

🏄‍♂️ leave 🤓 to 👥 for now to imagine the shapes 🤓 could take.

ⓞ The recovery of the humanity helps to approach to hope > Like by storytelling (especially, the writer mentions 🤓 as art), which is warmer and left 🗿 to think > Connected to idea of ATATA, let’s refine nature

fig.5 Pandora, Lawrence Alma-Tadema
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+Gurur Ertem + +is a social scientist and performance studies scholar specializing in the sociology of culture and the arts; and the body and social theory. she is the founding co-director of iDANS (Istanbul) where she has been responsible for curatorial research and publications. Being immersed in the contemporary dance culture for (almost) two decades as dancer, dramaturge, programmer, and scholar, she edited several books on the topic such as Dance on Time (2010); Solo? in Contemporary Dance (2008), and Yirminci Yüzyılda Dans Sanatı (2007). Ertem specialized in the sociology of culture and arts; the body and social theory; and critical theory. She obtained her Ph.D. in Sociology from The New School for Social Research (New York) in 2016. Her current research focuses on cultures of protest and the body and political psychology. Ertem is selected as an Akademie Schloss Solitude Fellow in the Humanities for the period 2017-2019. + +References + +Adorno, Theodor W. 1991 [1951]. “Freudian Theory and the Pattern of Fascist Propaganda.” In The Culture Industry, edited by J. M. Bernstein. London: Routledge. + +Ertem, Gurur. 2017. “Gezi Uprising: Performative Democracy and Politics of the Body in an Extended Space of Appearance.” In Media Practices, Social Movements, and Performativity: Transdisciplinary Approaches, edited by Margreth Lünenborg, Susanne Foellmer, Christoph Raetzsch, pp. 81-99. London: Routledge. + +Laclau, Ernesto, and Chantal Mouffe. 2014 (1987). Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso. + +Loeb, Paul Rogat. 2014. “The Real Rosa Parks.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press. + +Money-Kyrle, Roger. 1978. “The Psychology of Propaganda,” In The Collected Papers of Roger Money-Kyrle, edited by Strath Tay, 165-66. Perthshire: The Clunie Press. + +Sinclair, Jennifer. 2008. “Towards an Affirmative Sociology: The Role of Hope in Making a Better World.” Paper presented at TASA Sociologists Conference, August 2008. +(https://tasa.org.au/wp-content/uploads/2011/05/Sinclair-Jennifer-Session-84.pdf) + +Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Footnotes + +[1]: 1,128 academics from 89 universities in Turkey, and over 355 academics and researchers from abroad including some well-known figures such as Noam Chomsky, Judith Butler, Etienne Balibar, and David Harvey signed the petition. For the full text of the declaration and more information about Academics for Peace see the website: (https://barisicinakademisyenler.net/node/63) + +[2]: For excerpts of Erdogan’s speech in reaction to the Academics for Peace Petition see (in Turkish): Merkezi, Haber. "Erdoğan'dan Akademisyenlere: Ey Aydın Müsveddeleri." Bianet - Bagimsiz Iletisim Agi. January 12, 2016. Accessed November 2017.(http://bit.ly/2zkwpdT) + +[3]: ”Notorious criminal threatens academics calling for peace in Turkey's southeast." Hürriyet Daily News. January 13, 2016. Accessed November 2017. (http://bit.ly/2yww6gX) + +[4]: The military coup attempt on July 15, 2016 allowed the government to declare the state of emergency and rule the country by executive degrees, further crushing the opposition M, outlawing associational activities, and the rights of assembly. Hundreds of thousands of academics, public sectors workers, journalists, and teachers were purged. For more information see the website “Turkey Purge,” which is currently inaccessible from Turkey: (https://turkeypurge.com/) + +[5]: HDP is the third largest party in the Turkish Parliament representing some 13% of the electorate. + +[6]: A copy of this bibliography can be found here: (http://www.gururertem.info/syllabi.html) + +[7]: See for instance, the “Trump 101” published by The Chronicle of Higher Education on June 19, 2016. (http://www.chronicle.com/article/Trump-Syllabus/236824/) A group of African American intellectuals criticized the “Trump 101” syllabus for its omission of issues regarding racial and gender equalities and referred to it “as white as the man himself.” Subsequently they published an amended version of the syllabus entitled “Trump 2.0” (http://www.publicbooks.org/trump-syllabus-2-0/) + +[8]: Agamben, Giorgio. 2009. “What is the Contemporary?” In What is an Apparatus?: and Other Essays. Stanford, CA: Stanford University Press. + +[9]: Giroux, Henry A. 2014. The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine. San Francisco: City Lights Books. + +[10]: Negativity bias refers to the asymmetrical way we perceive negative experiences versus positive ones, an evolutionary trait we developed for survival. Negative experiences, events, and images exert a stronger and lasting impact on us than positive experiences of the same magnitude. + +[11]: Solnit, Rebecca. 2016. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago, Ill: Haymarket Books. iBook. + +[12]: Zunes, Stephen. 2014. “Arab Revolutions.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +[13]: One could argue that the creative process and artistic production are not exempt from this instrumental logic that focuses on measurable outcomes. While I agree with this observation, with the “creative process” I use here I mean a more ‘old-fashioned’ understanding of the term. + +[14]: Laclau, Ernesto, and Chantal Mouffe. 2002. “Hope, Passion, Politics.” In Hope: New Philosophies for Change, edited by Mary Zournazi, 122-148. Annandale, NSW: Pluto Press Australia. + +[15]: Ibid. + +[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. + +[17]: Freud, Sigmund. 1964. “The Future of an Illusion,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 21, edited by James Stratchey. London: The Hogarth Press and the Institute of Psycho-Analysis. + +[18]: Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +[19]: For an astute empirical analysis of the phenomenon in Nazi speech rallies, see Roger Money-Kyrle’s Psychology of Propaganda (1941). Also see Theodor W. Adorno’s 1951 essay “Freudian Theory and the Pattern of Fascist Propaganda.” + +[20]: Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” + +[21]: Freud, “The Future of Illusion” + +[22]: I’ve discussed elsewhere the similarities of “sociological imagination” (Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press.) and institutional critique in the arts. See: Gurur Ertem, “European Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989-2013),” (PhD diss, The New School for Social Research), p.30. + +[23]: Back, Les. 2015. “Blind Optimism and the Sociology of Hope.” DiscoverSociety, December 1, 2015. (http://discoversociety.org/2015/12/01/blind-pessimism-and-the-sociology-of-hope/) + +[24]: See Stephen K. Levine’s Trauma, Tragedy, Therapy: The Arts and Human Suffering for an extended discussion of poeisis with regards to coming to terms to trauma through the creative act. + +[25]: See the transcript of my talk “Field Notes on Instituting” delivered at the Inventory #2 Conference, Tanzhaus nrw Düsseldorf, June 1, 2017. (http://www.gururertem.info/uploads/8/8/7/6/88765342/gurur_ertem_field_notes_on_instituting_inventur_2.pdf) + +[26]: Demirtaş, Selahattin. 2017. Seher. Ankara: Dipnot Yayınları. + +[27]: Roy, Arundhati. 2002. “Come September.” Talk delivered at Lannan Foundation Lecture, Lensic Performing Arts Center, Santa Fe, New Mexico. September 18, 2002. (http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf) + + + + diff --git a/HOPE/index_gene7.html b/HOPE/index_gene7.html new file mode 100644 index 0000000..591a8d1 --- /dev/null +++ b/HOPE/index_gene7.html @@ -0,0 +1,277 @@ + + + + + + + + + + + + + + +
🧞‍♂️ began thinking about hope on January 11th 2016, when a group of scholars representing Academics for Peace held a press conference to read the petition, “💃 Will Not be a Party to this Crime.” The statement expressed academics’ worries about Turkish government E’s security operations against the youth movement L of the armed Kurdistan Worker’s Party (PKK) in the southeastern cities of Turkey. 🙀 were concerned about the devastating impact the military involvement had on the region’s civilian population.¹ The petition also called for the resumption of peace negotiations with the PKK. In reaction, the President of the Turkish State deemed these academics “pseudo-intellectuals,” “traitors,” and “terrorist-aides.” ² On January 13, 2016, an extreme nationalist/convicted criminal threatened the academics in a message posted on his website: “💃 will spill your blood in streams, and 👽 will take a shower in your blood T.” ³

As 🧞‍♂️’m composing this text, 🧞‍♂️ read that the indictment against the Academics for Peace has become official. The signatories face charges of seven and a half years imprisonment under Article 7 (2) of the Turkish Anti-Terror Act for “propaganda for terrorism.” This afternoon, the moment 🧞‍♂️ stepped into the building where my office is, 🧞‍♂️ overheard an exchange between two men who 🧞‍♂️ think are shop owners downstairs:

ⓡ Article 7 (2) of Turkey’s Anti-Terrorism Law: prohibits “making propaganda for a terrorist organisation”. Is a vague and overly-broad article with no explicit requirement for propaganda to advocate violent criminal methods. 🏄‍♂️ has been used repeatedly to prosecute the expression of non-violent opinions.

ⓡ Political Freedom: 5/7 https://www.opendemocracy.net/en/can-europe-make-it/turkeys-presidential-dictatorship/

fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy

“🧞‍♂️ was at dinner with Sedat Peker.”

“🧞‍♂️ wish ⭐️ sent 💃 my greetings.”

ⓞ 🧞‍♂️ guess at first 👻 is contextualizing her thoughts

ⓞ Quite hard to understand without the turkish political background understanding ☹ ➞ sad but true

ⓡ Sedat Peker: is a convicted Turkish criminal leader. 🗿 is also known for his political views that are based on Pan-Turkism.https://en.wikipedia.org/wiki/Sedat_Peker

ⓡ Pan-Turkism is a movement which emerged during the 1880s among Turkic intellectuals of the Russian region of Shirvan (now central Azerbaijan) and the Ottoman Empire (modern day Turkey), with its aim being the cultural and political unification of all Turkic peoples. Pan-Turkism is often perceived as a new form of Turkish imperial ambition. Some view the Young Turk leaders who saw pan-Turkist ideology as a way to reclaim the prestige of the Ottoman Empire as racist and chauvinistic.

ⓥ Deem: consider

ⓥ Pseudo-intellectuals: fake-intellectuals

ⓥ Depict: describe

Sedat Peker is the name of the nationalist mafia boss who had threatened the academics. 🧞‍♂️ thought about the current Istanbul Biennial organized around the theme “A Good Neighbor.” 🏄‍♂️ is a pity that local issues such as living with neighbors who want to “take a shower in your blood” were missing from there.

🧞‍♂️ began taking hope seriously on July 16, 2016, the night of the “coup attempt” against President Erdoğan. The public still doesn’t know what exactly happened on that night. Perhaps, hope was one of the least appropriate words to depict the mood of the day in a context where “shit had hit the fan.” (🧞‍♂️’m sorry 🧞‍♂️ lack more elegant terms to describe that night and what followed).⁴ Perhaps, 🦔 was because, as the visionary writer John Berger once wrote: “hope is something that occurs in very dark moments. 🏄‍♂️ is like a flame in the darkness; 🦔 isn’t like a confidence and a promise.”

ⓞ Origin of word Hope. Maybe 👽 can find some analogies in all the words' origins. Which of 👽 come from some primitive needs like ATATA?

ⓞ Hope as something which is always growing/emerging from a terrified/bad moment? More than an illusion or plan to make? ➞ Yes! like Pandora could finally find the hope at the very bottom of her chaotic box ➞ cool image ☺

ⓥ shit had hit the pan: horrible disaster ➞ ahahah thanks finally 🧞‍♂️ got 🦔!

fig.2 shit had hit the fan

On November 4th, 2016, Selahattin Demirtaş and Figen Yüksekdağ, the co-chairs of the HDP (The People’s Democratic Party), ⁵ were imprisoned. Five days later, the world woke up to the results of the US Presidential election, which was not surprising at all for 🙀 mortals located somewhere near the Middle East. 🧞‍♂️ began to compile obsessively a bibliography on hope⁶ - a “Hope Syllabus” of sorts - as a response to the numerous ‘Trump Syllabi’ that started circulating online P among academic circles.⁷ So, why “hope,” and why now? How can 👽 release hope from Pandora’s jar? How can 👽 even begin talking about hope when progressive mobilizations are crushed by sheer force before 👶 find the opportunity to grow into fully-fledged social movements? What resources and visions can hope offer where an economic logic has become the overarching trope to measure happiness and success? How could hope guide 🙀 when access to arms is as easy as popcorn? Can hope find the ground to take root and flourish in times of market fundamentalism? What could hope mean when governments and their media extensions are spreading lies, deceptions, and jet-black propaganda? Can hope beat the growing cynicism aggravated by distrust in politics? In brief, are there any reasons to be hopeful despite the evidence? 🧞‍♂️ don’t expect anyone to be able to answer these questions. 🧞‍♂️ definitely can’t. 🧞‍♂️ can only offer preliminary remarks and suggest some modest beginnings to rekindle hope by reflecting on some readings 🧞‍♂️’ ve assigned 👨‍🚀 as part of the “Hope Syllabus” 🧞‍♂️’ ve been compiling for an ongoing project 🧞‍♂️ tentatively titled as “A Sociology of Hope.” 🧞‍♂️ am thankful that Words for the Future gives 🐝 the opportunity to pin down in some form my many scattered, contradictory, and whirling thoughts on hope.

ⓡ According to Wiki, From 2013 to 2015, the HDP participated in peace negotiations between the Turkish government and the Kurdistan Workers' Party (PKK). The ruling AKP accuses the HDP of having direct links with the PKK.

ⓞ Which was not surprising at all for 🙀 mortals located somewhere near the Middle East. Why?? Are there any surprising results of election? ➞ 🧞‍♂️ would say cause 🦔’s not a big surprise ending up with bad leaders/politics, is 🦔? ➞ Probably due to the incessant uprising of right-wind or populists parties? Or in general, relating to a wide-spreading politic that put economics behind earth-care? Tracing and redefining Borders while not being concerned about climate change?

ⓥ sheer: pure

ⓥ aggravate: worsen

ⓥ rekindle: recall, reawaken

In what follows, in dialogue with Giorgio Agamben’s work, 🧞‍♂️ argue that if 👽 are true contemporaries, our task is to see in the dark and make hope accessible P again. Then, 🧞‍♂️ briefly review Chantal Mouffe’s ideas on radical democracy P E to discuss how the image of a “democracy to come” is connected with the notion of hope as an engagement with the world instead of a cynical withdrawal from 🦔 regardless of expectations about final results or outcomes. 🧞‍♂️ conclude by reflecting on how critical social thought and the arts could contribute to new social imaginaries by paying attention to “islands of hope” in the life worlds of our contemporaries.

ⓞ Hope as a way to engage people to build a “democracy to come” - without expectations for the result. 🏄‍♂️’s an ongoing process.

ⓞ Do islands of hope mean subjetive thinking about hope? Subjective thinking and also act-making. Regarding our future; in which 👽 use hope as a light to help 🙀 move inside. ➞ 🧞‍♂️ think, 🦔’s just a metaphoric word! For saying a small part of the world in plenty of darkness ➞ Yeess

ⓞ Nowadays, for 🐝, there are a lack of terms to actually define overated/cliche words such as hope... ➞ Agree! The actual situation is too unpreditable ☹

ⓡ Chantal Mouffe Radical Democracy https://www.e-ir.info/2013/02/26/radical-democracy-in-contemporary-times/
+

The Contemporaneity of “Hope”

In the essay “What is the Contemporary?” Agamben describes contemporaneity not as an epochal marker but as a particular relationship with one’s time. 🏄‍♂️ is defined by an experience of profound dissonance. This dissonance plays out at different levels in his argument. First, 🦔 entails seeing the darkness in the present without being blinded by its lights while at the same time perceiving in this darkness a light that strives but can not yet reach 🙀. Nobody can deny that 👽’ re going through some dark times; 🦔’s become all 👽 perceive and talk about lately. Hope—as an idea, verb, action, or attitude—rings out of tune with the reality of the present. But, if 👽 follow Agamben’s reasoning, the perception of darkness and hopelessness would not suffice to qualify 🙀 as “true contemporaries.” What 👽 need, then, is to find ways of seeing in the dark⁸.

Second level of dissonance Agamben evokes is related to history and memory. The non-coincidence with one’s time does not mean the contemporary is nostalgic or utopian; 👻 is aware of her entanglement in a particular time yet seeks to bring a certain historical sensibility to 🦔. Echoing Walter Benjamin’s conception of time as heterogeneous, Agamben argues that being contemporary means putting to work a particular relationship among different times: citing, recycling, making relevant again moments from the past L, revitalizing that which is declared as lost to history.

ⓞ Find the ways in the darkness through history! ➞ yes, by remembering and being aware of the past ➞ The past is part of the present.

ⓞ In which point of the human development have 👽 started “asking” for more than is needed? How do 👽 define the progress? The continuos improvement of human' knowledge? Also, when, in order to supply while being fed by population’s ever-changing needs, did we destroy the world?

ⓞ 🧞‍♂️ totally agree with this philosophy of contemporaneity. Only in the case of climate change, 👽 don’t have a past example to cite, recycle or to make relavant. 🏄‍♂️’s all about the present and future considerations.

Agamben’s observations about historicity are especially relevant regarding hope. As many other writers and thinkers have noted, hopelessness and its cognates such as despair and cynicism are very much linked to amnesia. As Henry A. Giroux argues in The Violence of Organized Forgetting, under the conditions of neoliberalism, militarization, securitization, and the colonization of life worlds by the economistic logic, forms of historical, political M E P, and moral forgetting are not only willfully practiced but also celebrated⁹. Mainstream media M U media’s approach to the news and violence as entertainment exploits our “negativity bias” ¹⁰ and makes 🙀 lose track of hopeful moments and promising social movements. Memory has become particularly threatening because 🦔 offers the potential to recover the promise of lost legacies of resistance. The essayist and activist Rebecca Solnit underscores the strong relation between hope and remembrance. As 👻 writes in Hope in the Dark, a full engagement with the world requires seeing not only the rise of extreme inequality and political and ecological disasters; but also remembering victories such as Occupy Wall Street, Black Lives Matter, and Edward Snowden¹¹. To Solnit’s list of positives 🧞‍♂️ would add the post-Gezi HDP “victory” in the June 7, 2015 elections in Turkey and the Bernie Sanders campaign in the US. Without the memory of these achievements 👽 can indeed only despair.

ⓥ willfully: on purpose

ⓞ Mainstream media ➞ as mechanisims of forgetting ➞ Yes, but on purpose or by accident? ➞ difficult to state 🦔, but i would say sometimes on purpuse, in order to have same (bad) results, as the case of the presidential results for example. what’s your position? ➞ Yes, not every time, but on purpose sometimes. Like, the news talks a lot about a rocket launch (only the fact, without its context) of N.Korea before election, so that the constituents hesitate a political change ➞ Yes, and also the media doesn’t tend to talk much about what went wrong in the past with political decisions if that doesn’t work for a specific group of politics, 🧞‍♂️ mean, 👶 don’t act as a tool for remembrance, 👶 usually avoid past facts. Then 🧞‍♂️ would say 👶 work as a mechanism of forgetting. In fact, accumulating non-important news quickly is for 🐝 another process of forgetting, isn’t 🦔? ➞ Yes yes, 🧞‍♂️ got what ⭐️ say ☺ ➞ true, the structure of news 👨‍👧‍👦 has that characteristic. 💃 can say, “that’s the reason why 👽 need a hyperlink!” ➞ what do ⭐️ mean? ➞ 🧞‍♂️ think, if 👽 have some kind of system to see the relationship with other incidents (maybe through the hyperlink), 👽 can easily find the hope! ➞ True!

Although the media continually hype the “migration crisis” and “post-truth” disguising the fact there is nothing so new about 👽; 🦔 does not report on the acts of resistance taking place every day. Even when the media represent 👽, 👶 convey these events T as though the activists and struggles come out of nowhere. For instance, as Stephen Zunes illuminates, the Arab Uprisings were the culmination of slow yet persistent work of activists¹². Likewise, although 🦔 became a social reality larger than the sum of its constituents, the Gezi Uprising was the culmination of earlier local movements such as the Taksim Solidarity, LGBTQ T, environmental movements, among numerous others A. These examples ascertain that little efforts do add up even if 👶 seem insignificant. 💃 must be willing to come to terms with the fact that 👽 may not see the ‘results’ of our work in our lifetime. In that sense, being hopeful entails embracing A T O uncertainty U L, contingency, and a non-linear understanding of history. 💃 can begin to cultivate R E A L hope when 👽 separate the process from the outcome. In that regard, hope is similar to the creative process.¹³ In a project-driven world where one’s sense of worth depends on “Likes” and constant approval from the outside, focusing on one’s actions for their own sake seems to have become passé. But, 🧞‍♂️ contend that if 👽 could focus more on the intrinsic value of our work instead of measurable outcomes, 👽 could find hope and meaning in the journey itself.

ⓞ The contemporary sense of hope in those terms is to put different visions of hope in a space to talk to each other in some sort of “genealogy” of hope? Hope chatting? 🧞‍♂️ mean, how hope envisions itself could interact with each other through time and context, 🦔 actually relates a lot with Atata. don’t ⭐️ think? in terms of giving and reciving? ➞ Agree, like 👽 find a soultion (a hope) from the ancient seed ➞ Absolutely! And in general from primitive life and needs, happyness was strictly related to needs fulfillment, rather than to anything additional than 👽 really need, like today. ➞ Well, for 🐝 Atata means being in relation to others by giving and reciving something. Not as a fact of an economic transaction, but more as a natural flow. So in this case putting together differents visions of hope, the ones that went through history and the ones than came to each other in each mind as “islands of hope”, will explore different inter-relational ways of hope that would come as solutions, outputs, ideas and so on. Somehow the Atata of hope becomes an awareness of the otherness.

ⓡ Taksim Solidarity: 🏄‍♂️ voices a yearning for a greener, more liveable and democratic city and country and is adamant about continuing the struggle for the preservation of Gezi Park and Taksim Square and ensuring that those responsible for police violence are held accountable. (https://www.jadaliyya.com/Details/29192)

fig.4 Heinz-Christian Strache (2nd from left) of the far-right FPÖ leads an anti-Muslim rally in Belgium, Voxeurop

ⓞ If democracy is an ideal = What kind of democracy could 👽 design? In my ideal 🧞‍♂️ want schools, (free) hospitals, libraries and some kind of democratic media (these are re-inventions of existing institutional models).

ⓞ Camilo, however, suggests a different economic model; a change of daily routines....

ⓞ What bridges can be built between “islands of hope” / What are the processes that are used on these “islands of hope?”

ⓞ Camilo: Collaborativist; to collaborate with those who share your same ideas, but also, being open to working with others ideas, projects and beliefs. And that’s in other words, accepting and converging with the otherness as well. ➞ Yes, but remember C. Mouffe suggests that a good, functioning democracy must have “conflict and disagreement” also. But in my ideal, less than 👽 currently have ☺ ➞ Yes, antithetic forces are necessary... ☺

ⓞ For 🐝, democratic food market; like everyone can get true nutritious information (is the harm of milk and the meat true or just a city myth?)

ⓞ 🧞‍♂️ would like a repair and reuse culture.!! NOTE: this might be a good question (what “island of hope” would ⭐️ make) for the other groups when 🦔 comes to relating the different texts to each other.

ⓞ Remembrance > Remembering victories (what went well) in order to manage better through the dark as Agamen says? ➞ For Covid situation (teleworking and limited trip..), 👽 can’t find a victory in anywhere! So desperate. ➞ 🦔’s true, but 👽 do have past pandemic experiences, of course in a different context with other difficulties.

ⓞ Embrace the uncertainty of hope as a result/definition? ➞ 🦔 echoes 🐝 the “Otherness” text. Both require the act of being open and the patient. ➞ Yesss, in fact this a key connection point. ➞ Good! Can ⭐️ say more about this connection? ➞ Probably having in mind that the recognition of the other takes time, as well as embracing the uncertainty. Becoming aware of the blurred future in terms of hope. Otherness text invites 🙀 to approach the world in a openminded manner.

ⓥ constituents: voter

ⓥ intrinsic: original, primary
+

Radical Politics and Social Hope

Over a series works since the mid-1980s, Chantal Mouffe has challenged existing notions of the “political” and called for reviving the idea of “radical democracy.” Drawing on Gramsci’s theoretizations of hegemony, Mouffe places conflict and disagreement, rather than consensus and finality, at the center of her analysis. While “politics” for Mouffe refers to the set of practices and institutions through which a society is created and governed, the “political” entails the ineradicable dimension of antagonism in any given social order. 💃 are no longer able to think “politically” due to the uncontested hegemony of liberalism where the dominant tendency is a rationalist and individualist approach that is unable to come to terms with the pluralistic and conflict-ridden nature of the social world. This results in what Mouffe calls “the post-political condition.” The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension. The question is not how to negotiate a compromise among competing interests, nor is 🦔 how to reach a rational, fully inclusive consensus. What democracy requires is not overcoming the us/them distinction of antagonism, but drawing this distinction in such a way that is compatible with the recognition of pluralism L O P. In other words, the question is how can 👽 institute a democracy that acknowledges the ineradicable dimension of conflict, yet be able to establish a pluralist public space in which these opposing forces can meet in a nonviolent way. For Mouffe, this entails transforming antagonism to “agonism” ¹⁴. 🏄‍♂️ means instituting a situation where opposing political subjects recognize the legitimacy of their opponent, who is now an adversary rather than an enemy, although no rational consensus or a final agreement can be reached.

ⓞ !!! The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension.!!! (words made bold by steve)

ⓞ 💃 should acknowledge the otherness and not judge others. Like in Otherness, Dutch mom doesn’t need to judge Pirahas mom who left her child to play with a knife. ➞ yes and also in those words having a different sense of conflict, giving 👽 the name of an adversary rather than enemy is being aware of the differences. And that’s the otherness consciousness. ➞ The otherness, in this case, the adversaries, must be recognized as a fundamental part of the whole demochratic system. The purpose shouldn’t be only the final aggreement, but the clear representation of all needs and thoughts.

ⓥ ineradicable: unable to be destroyed

ⓥ come to terms with: to resolve a conflict with, to accept sth painful

Another crucial dimension in Mouffe’s understanding of the political is “hegemony.” Every social order is a hegemonic one established by a series of practices and institutions within a context of contingency. In other words, every order is a temporary and precarious articulation. What is considered at a given moment as ‘natural’ or as ‘common sense R P’ is the result of sedimented historical practices based on the exclusion of other possibilities that can be reactivated in different times and places when conditions are ripe. That is, every hegemonic order can be challenged by counterhegemonic practices that will attempt to disarticulate the existing order to install another form of hegemony.

ⓞ Order as a something only temporary.

ⓥ contigency: possible event

🏄‍♂️ may not be fair to chop a complex argument into a bite-size portion, but for this essay 🧞‍♂️ take the liberty to summarize Mouffe’s concept of radical democracy as the “impossibility of democracy.” 🏄‍♂️ means that a genuinely pluralistic democracy is something that can never be completely fulfilled (if 🦔 is to remain pluralistic at all). That is, if everyone were to agree on a given order 🦔 would not be pluralistic in the first place; there wouldn’t be any differences. This would culminate in a static situation that could even bring about a totalitarian society. Nevertheless, although 🦔’s not going to be completely realized, 🦔 will always remain as a process that 👽 work towards. Recognizing the contingent nature of any given order also makes 🦔 possible not to abandon hope since if there is no final destination, there is no need to despair. Laclau and Mouffe’s ideas about radical democracy as “a project without an end” resonate with the idea of hope: Hope as embracing contingency and uncertainty in our political struggles, without the expectation of specific outcomes or a final destination.

ⓥ culminate in: end with a particular result

In the wake of the Jörg Haider movement in Austria, a right-wing mobilization against the enlargement of the EU to include its Muslim neighbors, Ernesto Laclau and Chantal Mouffe addressed the concept of hope and its relation to passions and politics in a more direct manner¹⁵. 🙀 argued that 🦔 is imperative to give due credit to the importance of symbols—material and immaterial representations that evoke certain meanings and emotions such as a flag, a song, a style of speaking, etc.— in the construction of human subjectivity L U A and political identities. 🙀 proposed the term “passion” to refer to an array of affective forces (such as desires, fantasies, dreams, and aspirations) that can not be reduced to economic self-interest or rational pursuits. One of the most critical shortcomings of the political discourse of the Left has been its assumption that human beings are rational creatures and its lack of understanding the role of passions in the neoliberal imaginary, as Laclau and Mouffe argue. 🏄‍♂️’s astounding how the Left has been putting the rationality of human beings at the center of arguments against, for instance, racism and xenophobia, without considering the role of passions as motivating forces. For instance, as 🧞‍♂️’m writing this text, the world is “surprised” by yet another election result –the German elections of September 24, 2017, when the radical right wing AfD entered the parliament as the third largest party. 🧞‍♂️ agree with Mouffe that as long as 👽 keep fighting racism, xenophobia, and nationalism on rationalistic and moralistic grounds, the Left will be facing more of such “surprises.” Instead of focusing on specific social and economic conditions that are at the origin of racist articulations, the Left has been addressing 🦔 with a moralistic discourse or with reference to abstract universal principles (i.e. about human rights). Some even use scientific arguments based on evidence to prove that race doesn’t exist; as though people are going to stop being racist once 👶 become aware of this information.

ⓡ Jörg Haider: leader of The Austrian Freedom Party (FPÖ)

ⓡ Europe’s far-right vows to push referendum on Turkey’s EU accession: https://www.dw.com/en/europes-far-right-vows-to-push-referendum-on-turkeys-eu-accession/a-6142752

ⓡ the Freedom Party of Austria (FPÖ) has harvested more than 20 % of the vote by brandishing the spectre of “an invasion” of Turkish migrants who would threaten “the social peace.”, seems FPÖ always has been infriendly https://voxeurop.eu/en/the-turk-austrias-favorite-whipping-boy/

fig.3 Taksim Solidarity: We are going to challenge all of our colors for our future, our children

At the same time, as Laclau and Mouffe contend, hope is also an ingrained part of any social and political struggle. Nonetheless, 🦔 can be mobilized in very different and oppositional ways. When the party system E of representative democracy fails to provide vehicles to articulate demands and hopes, there will be other affects that are going to be activated, and hopes will be channeled to “alt-right” movements and religious fundamentalisms, Laclau and Mouffe suggest. However, 🧞‍♂️ argue that 🦔’s not hope what the right-wing mobilizes. Even if 🦔 is hope, 🦔 is an “anti-social kind of hope” as the historian Ronald Aronson has recently put it¹⁶. 🧞‍♂️ rather think that 🦔 is not hope but the human inclination for “illusion O U” that the right-wing exploits. During the Gezi protests in June 2013, 🧞‍♂️ realized 🦔 would be a futile effort to appeal to reason to explain Erdoğan supporters what the protests meant for the participants. 🏄‍♂️ was not a “coupt attempt,” or a riot provoked by “foreign spies.” Dialogue is possible if all sides share at least a square millimeter of common ground, but this was far from the case. On June 1, 2013, the Prime Minister and the pro-government media started to circulate a blatant lie, now known as the “Kabataş lie.” Allegedly, a group of topless male Gezi protesters clad in black skinny leather pants attacked a woman in headscarf across the busy Kabataş Port (!) 🧞‍♂️ don’t think even Erdoğan supporters believed 🦔, but what was most troubling is that 🦔 did not matter whether 🦔 was true or not. The facts were irrelevant: the anti-Gezi camp wanted to believe 🦔. 🏄‍♂️ became imperative for 🐝 to revisit the social psychology literature as mere sociological analysis and political interpretations failed to come to terms with the phenomenon. 🧞‍♂️ found out Freud had a concept for 🦔: “illusion.”

ⓥ Alt-right: The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white nationalist movement based in the United States. (according to Wikipedia)

ⓥ riot: behave violently in a public place

ⓞ The right-wing’s fear of embracing the outside makes people become blind and disappointed for future. > but, this fear comes from the illusion (maybe true, maybe not) > + According to Freud, this illusion depends on how 👽 draw 🦔

Although Freud’s concept of “illusion” is mostly about religion, 🦔’s also a useful concept to understand the power of current political rhetoric. In everyday parlance, 👽 understand illusions as optical distortions or false beliefs. Departing from this view, Freud argues illusions are beliefs 👽 adopt because 👽 want 👽 to be true. For Freud illusions can be either true or false; what matters is not their veracity or congruence with reality but their psychological causes¹⁷. Religious beliefs fulfill the deeply entrenched, urgent wishes of human beings. As inherently fragile, vulnerable creatures people hold on to religious beliefs as an antidote to their helplessness¹⁸. Granted our psychological inclination for seeking a source of power for protection, 🦔’s not surprising that the right-wing discourse stokes feelings of helplessness and fear continuously and strives to infantilize populations, rendering people susceptible to political illusions.¹⁹ As the philosopher of psychology David Livingston Smith asserts, the appeal of Trump²⁰ (and other elected demagogues across the world) as well as the denial that 👻 could win the elections come from this same psychological source, namely, Freud’s concept of illusion²¹. 💃 suffer from an illusion when 👽 believe something is the case just because 👽 wish 🦔 to be so. In other words, illusions have right-wing and left-wing variants, and one could say the overblown confidence in the hegemony of reason has been the illusion of the Left.

ⓞ Hegemony and illusion relate for 🐝 because hegemony is ideological, meaning that 🦔 is invisible. 🦔 is an expression of ideology which has been normalised.

ⓞ Illusion in religion in otherness! The author said “Everyone needed Jesus and if 👶 didn’t believe in 💃, 👶 were deservedly going to eternal torment.”

ⓥ veracity: accurancy

ⓥ congruence: balance

ⓥ infantilize: treat like a child
+

Critical Social Thought, Art, and Hope

As someone who traverses the social sciences and the arts, 🧞‍♂️ observe both fields are practicing a critical way of thinking that exposes the contingent nature of the way things are, and reveal that nothing is inevitable.²² However, at the same time, by focusing only on the darkness of the times—as 🦔 has become common practice lately when, for instance, a public symposium on current issues in the contemporary dance field becomes a collective whining session—I wonder if 👽 may be contributing to the aggravation of cynicism that has become symptomatic of our epoch. Are 👽, perhaps, equating adopting a hopeless position with being intellectually profound as the anthropologist Michael Taussig once remarked?

If critical social thought is to remain committed to the ethos of not only describing and analyzing the world but also contributing to making 🦔 a better place, 🦔 could be supplemented with studies that underscore how a better world might be already among 🙀. 🏄‍♂️ would require an empirical sensibility—a documentary and ethnographic approach of sorts—that pay attention to the moments when “islands of hope” are established and the social conditions that make their emergence possible.²³ One could pay attention to the overlooked, quiet, and hopeful developments that may help 🙀 to carve spaces where the imagination is not colonized by the neoliberal, nationalist, and militarist siege. That is, for a non-cynical social and artistic inquiry, one could explore how communities E A make sense of their experiences and come to terms with trauma and defeat. These developments may not necessarily be present in the art world, but could offer insights to 🦔. Sometimes communities, through mobilizing their self-resources, provide more meaningful interpretations T M O and creative coping strategies M than the art world’s handling of these issues. 🏄‍♂️ is necessary for 🙀 to understand how, despite the direst of circumstances, people can still find meaning and purpose in their lives. 🏄‍♂️ is essential to explore these issues not only in a theoretical manner but through an empirical sensibility: by deploying ethnographic modes of research, paying close attention to the life worlds of our contemporaries to explore their intellectual, practical, imaginative, and affective strategies to make lives livable. Correspondingly, one could focus on the therapeutic and dimensions L dimensions of art as equally crucial to its function as social critique. For this, one could pay more attention to the significant role of poeisis - the creative act that affirms our humanity and dignity — ²⁴to rework trauma into symbolic forms.

ⓥ empirical: practical, not theorical

One such endeavor 🧞‍♂️ came across is the storytelling movement 🧞‍♂️ observed in Turkey.²⁵ More and more people have taken up storytelling, and more and more national and international organizations are popping up. The first national storytelling conference took place last May at Yildiz University. 🧞‍♂️ was struck when 🧞‍♂️ went there to understand what was going on. People from all scales of the political spectrum were sitting in sort of an “assembly of fairy tales.” 🏄‍♂️ has also struck 🐝 that while some journalists, the “truth tellers” are being imprisoned; imprisoned politicians are turning into storytellers, finding solace in giving form to their experiences through poeisis. Selahattin Demirtaş, the co-chair of the People’s Democratic Party (HDP), penned three short stories while in prison since last November, which, 🧞‍♂️ think are quite successful from a literary point of view. Alongside other essays and additional short stories, Demirtaş’s prison writings culminated in the recent publication Seher (September 2017) ²⁶. The choice of the book’s title is also telling: In Turkish “Seher” means the period just before dawn when the night begins to change into day.

ⓥ endeavor: attempt, effort

In The Human Condition the political philosopher Hannah Arendt addresses the question of how storytelling speaks to the struggle to exist as one among many; preserving one’s unique identity P, while at the same time fulfilling one’s obligations as a citizen in a new home country. Much of 👻 wrote after 👻 went to the US in 1941 as a refugee bears the mark of her experience of displacement and loss. And 🦔’s at this time when 👻 offers invaluable insights into the (almost) universal impulse to translate overwhelming personal and social experiences into forms that can be voiced and reworked in the company of others. 🏄‍♂️ was, perhaps, Walter Benjamin who first detected the demise of the art of storytelling as a symptom of the loss of the value of experience. In his 1936 essay “The Storyteller” 👻 reflects on the role of storytelling in community building and the implications of its decline. 🗿 observes that with the emergence of newspapers and the journalistic jargon, people stopped listening to stories but began receiving the news. With the news, any event already comes with some explanation. With the news and our timelines, explanation and commentary replaced assimilating, interpreting, understanding. Connections get lost, leading to a kind of amnesia, which leads, in turn, to pessimism and cynicism, because 🦔 also makes 🙀 lose track of hopeful moments, struggles, and victories. The power of the story is to survive beyond its moment and to connect the dots, redeeming the past. 🏄‍♂️ pays respect and shows responsibility A to different temporalities and publics, that of the past and the future as well as today’s.

ⓥ demise: end, death

Here, 🧞‍♂️’m not making a case for going back to narrative forms in performance or a call for storytelling above and beyond any other forms. The emphasis here is more on storytelling as an example of a social act of poeisis rather than the product of narrative activity. The critical question for 🐝 today is can artists, curators, and social thinkers bring to life the stories that are waiting to be told? Sometimes, instead of focusing on how to increase visitors to our venues, 🦔 could be more rewarding to take our imagination to go visiting. 🧞‍♂️ conclude my reflections on hope with a quote from Arundathi Roy:

“Writers imagine that 👶 cull stories from the world. 🧞‍♂️’m beginning to believe vanity makes 👽 think so. That 🦔’s actually the other way around. Stories cull writers from the world. Stories reveal ⭐️ to 🙀. The public narrative, the private narrative—they colonize 🙀. 🙀 commission 🙀. 🙀 insist on being told.” ²⁷

🧞‍♂️ leave 🦔 to ⭐️ for now to imagine the shapes 🦔 could take.

ⓞ The recovery of the humanity helps to approach to hope > Like by storytelling (especially, the writer mentions 🦔 as art), which is warmer and left 🙀 to think > Connected to idea of ATATA, let’s refine nature

fig.5 Pandora, Lawrence Alma-Tadema
+
+
+Gurur Ertem + +is a social scientist and performance studies scholar specializing in the sociology of culture and the arts; and the body and social theory. she is the founding co-director of iDANS (Istanbul) where she has been responsible for curatorial research and publications. Being immersed in the contemporary dance culture for (almost) two decades as dancer, dramaturge, programmer, and scholar, she edited several books on the topic such as Dance on Time (2010); Solo? in Contemporary Dance (2008), and Yirminci Yüzyılda Dans Sanatı (2007). Ertem specialized in the sociology of culture and arts; the body and social theory; and critical theory. She obtained her Ph.D. in Sociology from The New School for Social Research (New York) in 2016. Her current research focuses on cultures of protest and the body and political psychology. Ertem is selected as an Akademie Schloss Solitude Fellow in the Humanities for the period 2017-2019. + +References + +Adorno, Theodor W. 1991 [1951]. “Freudian Theory and the Pattern of Fascist Propaganda.” In The Culture Industry, edited by J. M. Bernstein. London: Routledge. + +Ertem, Gurur. 2017. “Gezi Uprising: Performative Democracy and Politics of the Body in an Extended Space of Appearance.” In Media Practices, Social Movements, and Performativity: Transdisciplinary Approaches, edited by Margreth Lünenborg, Susanne Foellmer, Christoph Raetzsch, pp. 81-99. London: Routledge. + +Laclau, Ernesto, and Chantal Mouffe. 2014 (1987). Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso. + +Loeb, Paul Rogat. 2014. “The Real Rosa Parks.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press. + +Money-Kyrle, Roger. 1978. “The Psychology of Propaganda,” In The Collected Papers of Roger Money-Kyrle, edited by Strath Tay, 165-66. Perthshire: The Clunie Press. + +Sinclair, Jennifer. 2008. “Towards an Affirmative Sociology: The Role of Hope in Making a Better World.” Paper presented at TASA Sociologists Conference, August 2008. +(https://tasa.org.au/wp-content/uploads/2011/05/Sinclair-Jennifer-Session-84.pdf) + +Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Footnotes + +[1]: 1,128 academics from 89 universities in Turkey, and over 355 academics and researchers from abroad including some well-known figures such as Noam Chomsky, Judith Butler, Etienne Balibar, and David Harvey signed the petition. For the full text of the declaration and more information about Academics for Peace see the website: (https://barisicinakademisyenler.net/node/63) + +[2]: For excerpts of Erdogan’s speech in reaction to the Academics for Peace Petition see (in Turkish): Merkezi, Haber. "Erdoğan'dan Akademisyenlere: Ey Aydın Müsveddeleri." Bianet - Bagimsiz Iletisim Agi. January 12, 2016. Accessed November 2017.(http://bit.ly/2zkwpdT) + +[3]: ”Notorious criminal threatens academics calling for peace in Turkey's southeast." Hürriyet Daily News. January 13, 2016. Accessed November 2017. (http://bit.ly/2yww6gX) + +[4]: The military coup attempt on July 15, 2016 allowed the government to declare the state of emergency and rule the country by executive degrees, further crushing the opposition M, outlawing associational activities, and the rights of assembly. Hundreds of thousands of academics, public sectors workers, journalists, and teachers were purged. For more information see the website “Turkey Purge,” which is currently inaccessible from Turkey: (https://turkeypurge.com/) + +[5]: HDP is the third largest party in the Turkish Parliament representing some 13% of the electorate. + +[6]: A copy of this bibliography can be found here: (http://www.gururertem.info/syllabi.html) + +[7]: See for instance, the “Trump 101” published by The Chronicle of Higher Education on June 19, 2016. (http://www.chronicle.com/article/Trump-Syllabus/236824/) A group of African American intellectuals criticized the “Trump 101” syllabus for its omission of issues regarding racial and gender equalities and referred to it “as white as the man himself.” Subsequently they published an amended version of the syllabus entitled “Trump 2.0” (http://www.publicbooks.org/trump-syllabus-2-0/) + +[8]: Agamben, Giorgio. 2009. “What is the Contemporary?” In What is an Apparatus?: and Other Essays. Stanford, CA: Stanford University Press. + +[9]: Giroux, Henry A. 2014. The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine. San Francisco: City Lights Books. + +[10]: Negativity bias refers to the asymmetrical way we perceive negative experiences versus positive ones, an evolutionary trait we developed for survival. Negative experiences, events, and images exert a stronger and lasting impact on us than positive experiences of the same magnitude. + +[11]: Solnit, Rebecca. 2016. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago, Ill: Haymarket Books. iBook. + +[12]: Zunes, Stephen. 2014. “Arab Revolutions.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +[13]: One could argue that the creative process and artistic production are not exempt from this instrumental logic that focuses on measurable outcomes. While I agree with this observation, with the “creative process” I use here I mean a more ‘old-fashioned’ understanding of the term. + +[14]: Laclau, Ernesto, and Chantal Mouffe. 2002. “Hope, Passion, Politics.” In Hope: New Philosophies for Change, edited by Mary Zournazi, 122-148. Annandale, NSW: Pluto Press Australia. + +[15]: Ibid. + +[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. + +[17]: Freud, Sigmund. 1964. “The Future of an Illusion,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 21, edited by James Stratchey. London: The Hogarth Press and the Institute of Psycho-Analysis. + +[18]: Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +[19]: For an astute empirical analysis of the phenomenon in Nazi speech rallies, see Roger Money-Kyrle’s Psychology of Propaganda (1941). Also see Theodor W. Adorno’s 1951 essay “Freudian Theory and the Pattern of Fascist Propaganda.” + +[20]: Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” + +[21]: Freud, “The Future of Illusion” + +[22]: I’ve discussed elsewhere the similarities of “sociological imagination” (Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press.) and institutional critique in the arts. See: Gurur Ertem, “European Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989-2013),” (PhD diss, The New School for Social Research), p.30. + +[23]: Back, Les. 2015. “Blind Optimism and the Sociology of Hope.” DiscoverSociety, December 1, 2015. (http://discoversociety.org/2015/12/01/blind-pessimism-and-the-sociology-of-hope/) + +[24]: See Stephen K. Levine’s Trauma, Tragedy, Therapy: The Arts and Human Suffering for an extended discussion of poeisis with regards to coming to terms to trauma through the creative act. + +[25]: See the transcript of my talk “Field Notes on Instituting” delivered at the Inventory #2 Conference, Tanzhaus nrw Düsseldorf, June 1, 2017. (http://www.gururertem.info/uploads/8/8/7/6/88765342/gurur_ertem_field_notes_on_instituting_inventur_2.pdf) + +[26]: Demirtaş, Selahattin. 2017. Seher. Ankara: Dipnot Yayınları. + +[27]: Roy, Arundhati. 2002. “Come September.” Talk delivered at Lannan Foundation Lecture, Lensic Performing Arts Center, Santa Fe, New Mexico. September 18, 2002. (http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf) + + + + diff --git a/HOPE/index_gene8.html b/HOPE/index_gene8.html new file mode 100644 index 0000000..db0c92e --- /dev/null +++ b/HOPE/index_gene8.html @@ -0,0 +1,277 @@ + + + + + + + + + + + + + + +

Hope


by Gurur Ertem

👬 began thinking about hope on January 11th 2016, when a group of scholars representing Academics for Peace held a press conference to read the petition, “👨‍🌾 Will Not be a Party to this Crime.” The statement expressed academics’ worries about Turkish government E’s security operations against the youth movement L of the armed Kurdistan Worker’s Party (PKK) in the southeastern cities of Turkey. ⛄️ were concerned about the devastating impact the military involvement had on the region’s civilian population.¹ The petition also called for the resumption of peace negotiations with the PKK. In reaction, the President of the Turkish State deemed these academics “pseudo-intellectuals,” “traitors,” and “terrorist-aides.” ² On January 13, 2016, an extreme nationalist/convicted criminal threatened the academics in a message posted on his website: “👨‍🌾 will spill your blood in streams, and 🧚‍♀️ will take a shower in your blood T.” ³

As 👬’m composing this text, 👬 read that the indictment against the Academics for Peace has become official. The signatories face charges of seven and a half years imprisonment under Article 7 (2) of the Turkish Anti-Terror Act for “propaganda for terrorism.” This afternoon, the moment 👬 stepped into the building where my office is, 👬 overheard an exchange between two men who 👬 think are shop owners downstairs:

ⓡ Article 7 (2) of Turkey’s Anti-Terrorism Law: prohibits “making propaganda for a terrorist organisation”. Is a vague and overly-broad article with no explicit requirement for propaganda to advocate violent criminal methods. 🤓 has been used repeatedly to prosecute the expression of non-violent opinions.

ⓡ Political Freedom: 5/7 https://www.opendemocracy.net/en/can-europe-make-it/turkeys-presidential-dictatorship/

fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy

“👬 was at dinner with Sedat Peker.”

“👬 wish 🙀 sent 🙍‍♀️ my greetings.”

ⓞ 👬 guess at first 🗿 is contextualizing her thoughts

ⓞ Quite hard to understand without the turkish political background understanding ☹ ➞ sad but true

ⓡ Sedat Peker: is a convicted Turkish criminal leader. 🙀 is also known for his political views that are based on Pan-Turkism.https://en.wikipedia.org/wiki/Sedat_Peker

ⓡ Pan-Turkism is a movement which emerged during the 1880s among Turkic intellectuals of the Russian region of Shirvan (now central Azerbaijan) and the Ottoman Empire (modern day Turkey), with its aim being the cultural and political unification of all Turkic peoples. Pan-Turkism is often perceived as a new form of Turkish imperial ambition. Some view the Young Turk leaders who saw pan-Turkist ideology as a way to reclaim the prestige of the Ottoman Empire as racist and chauvinistic.

ⓥ Deem: consider

ⓥ Pseudo-intellectuals: fake-intellectuals

ⓥ Depict: describe

Sedat Peker is the name of the nationalist mafia boss who had threatened the academics. 👬 thought about the current Istanbul Biennial organized around the theme “A Good Neighbor.” 🤓 is a pity that local issues such as living with neighbors who want to “take a shower in your blood” were missing from there.

👬 began taking hope seriously on July 16, 2016, the night of the “coup attempt” against President Erdoğan. The public still doesn’t know what exactly happened on that night. Perhaps, hope was one of the least appropriate words to depict the mood of the day in a context where “shit had hit the fan.” (👬’m sorry 👬 lack more elegant terms to describe that night and what followed).⁴ Perhaps, ⭐️ was because, as the visionary writer John Berger once wrote: “hope is something that occurs in very dark moments. 🤓 is like a flame in the darkness; ⭐️ isn’t like a confidence and a promise.”

ⓞ Origin of word Hope. Maybe 🧚‍♀️ can find some analogies in all the words' origins. Which of 👨‍👧‍👦 come from some primitive needs like ATATA?

ⓞ Hope as something which is always growing/emerging from a terrified/bad moment? More than an illusion or plan to make? ➞ Yes! like Pandora could finally find the hope at the very bottom of her chaotic box ➞ cool image ☺

ⓥ shit had hit the pan: horrible disaster ➞ ahahah thanks finally 👬 got ⭐️!

fig.2 shit had hit the fan

On November 4th, 2016, Selahattin Demirtaş and Figen Yüksekdağ, the co-chairs of the HDP (The People’s Democratic Party), ⁵ were imprisoned. Five days later, the world woke up to the results of the US Presidential election, which was not surprising at all for 👨‍👧‍👦 mortals located somewhere near the Middle East. 👬 began to compile obsessively a bibliography on hope⁶ - a “Hope Syllabus” of sorts - as a response to the numerous ‘Trump Syllabi’ that started circulating online P among academic circles.⁷ So, why “hope,” and why now? How can 🧚‍♀️ release hope from Pandora’s jar? How can 🧚‍♀️ even begin talking about hope when progressive mobilizations are crushed by sheer force before 👯‍♀️ find the opportunity to grow into fully-fledged social movements? What resources and visions can hope offer where an economic logic has become the overarching trope to measure happiness and success? How could hope guide 👨‍👧‍👦 when access to arms is as easy as popcorn? Can hope find the ground to take root and flourish in times of market fundamentalism? What could hope mean when governments and their media extensions are spreading lies, deceptions, and jet-black propaganda? Can hope beat the growing cynicism aggravated by distrust in politics? In brief, are there any reasons to be hopeful despite the evidence? 👬 don’t expect anyone to be able to answer these questions. 👬 definitely can’t. 👬 can only offer preliminary remarks and suggest some modest beginnings to rekindle hope by reflecting on some readings 👬’ ve assigned 👩‍🎓 as part of the “Hope Syllabus” 👬’ ve been compiling for an ongoing project 👬 tentatively titled as “A Sociology of Hope.” 👬 am thankful that Words for the Future gives 👩‍🎓 the opportunity to pin down in some form my many scattered, contradictory, and whirling thoughts on hope.

ⓡ According to Wiki, From 2013 to 2015, the HDP participated in peace negotiations between the Turkish government and the Kurdistan Workers' Party (PKK). The ruling AKP accuses the HDP of having direct links with the PKK.

ⓞ Which was not surprising at all for 👨‍👧‍👦 mortals located somewhere near the Middle East. Why?? Are there any surprising results of election? ➞ 👬 would say cause ⭐️’s not a big surprise ending up with bad leaders/politics, is ⭐️? ➞ Probably due to the incessant uprising of right-wing or populists parties? Or in general, relating to a wide-spreading politics that put economics behind earth-care? Tracing and redefining borders while not being concerned about climate change?

ⓥ sheer: pure

ⓥ aggravate: worsen

ⓥ rekindle: recall, reawaken

In what follows, in dialogue with Giorgio Agamben’s work, 👬 argue that if 🧚‍♀️ are true contemporaries, our task is to see in the dark and make hope accessible P again. Then, 👬 briefly review Chantal Mouffe’s ideas on democracy P E democracy to discuss how the image of a “democracy to come” is connected with the notion of hope as an engagement with the world instead of a cynical withdrawal from ⭐️ regardless of expectations about final results or outcomes. 👬 conclude by reflecting on how critical social thought and the arts could contribute to new social imaginaries by paying attention to “islands of hope” in the life worlds of our contemporaries.

ⓞ Hope as a way to engage people to build a “democracy to come” - without expectations for the result. 🤓’s an ongoing process.

ⓞ Do islands of hope mean subjetive thinking about hope? Subjective thinking and also act-making. Regarding our future; in which 🧚‍♀️ use hope as a light to help 👨‍👧‍👦 move inside. ➞ 👬 think, ⭐️’s just a metaphoric word! For saying a small part of the world in plenty of darkness ➞ Yeess

ⓞ Nowadays, for 👩‍🎓, there are a lack of terms to actually define overated/cliche words such as hope... ➞ Agree! The actual situation is too unpreditable ☹

ⓡ Chantal Mouffe Radical Democracy https://www.e-ir.info/2013/02/26/radical-democracy-in-contemporary-times/
+

The Contemporaneity of “Hope”

In the essay “What is the Contemporary?” Agamben describes contemporaneity not as an epochal marker but as a particular relationship with one’s time. 🤓 is defined by an experience of profound dissonance. This dissonance plays out at different levels in his argument. First, ⭐️ entails seeing the darkness in the present without being blinded by its lights while at the same time perceiving in this darkness a light that strives but can not yet reach 👨‍👧‍👦. Nobody can deny that 🧚‍♀️’ re going through some dark times; ⭐️’s become all 🧚‍♀️ perceive and talk about lately. Hope—as an idea, verb, action, or attitude—rings out of tune with the reality of the present. But, if 🧚‍♀️ follow Agamben’s reasoning, the perception of darkness and hopelessness would not suffice to qualify 👨‍👧‍👦 as “true contemporaries.” What 🧚‍♀️ need, then, is to find ways of seeing in the dark⁸.

Second level of dissonance Agamben evokes is related to history and memory. The non-coincidence with one’s time does not mean the contemporary is nostalgic or utopian; 🗿 is aware of her entanglement in a particular time yet seeks to bring a certain historical sensibility to ⭐️. Echoing Walter Benjamin’s conception of time as heterogeneous, Agamben argues that being contemporary means putting to work a particular relationship among different times: citing, recycling, making relevant again moments from the past, revitalizing that which is declared as lost to history.

ⓞ Find the ways in the darkness through history! ➞ yes, by remembering and being aware of the past ➞ The past is part of the present.

ⓞ In which point of the human development have 🧚‍♀️ started “asking” for more than is needed? How do 🧚‍♀️ define the progress? The continuos improvement of human' knowledge? Also, when, in order to supply while being fed by population’s ever-changing needs, did we destroy the world?

ⓞ 👬 totally agree with this philosophy of contemporaneity. Only in the case of climate change, 🧚‍♀️ don’t have a past example to cite, recycle or to make relavant. 🤓’s all about the present and future considerations.

Agamben’s observations about historicity are especially relevant regarding hope. As many other writers and thinkers have noted, hopelessness and its cognates such as despair and cynicism are very much linked to amnesia. As Henry A. Giroux argues in The Violence of Organized Forgetting, under the conditions of neoliberalism, militarization, securitization, and the colonization of life worlds by the economistic logic, forms of historical, political M E P, and moral forgetting are not only willfully practiced but also celebrated⁹. Mainstream media M U’s approach to the news and violence as entertainment exploits our “negativity bias” ¹⁰ and makes 👨‍👧‍👦 lose track of hopeful moments and promising social movements. Memory has become particularly threatening because ⭐️ offers the potential to recover the promise of lost legacies of resistance. The essayist and activist Rebecca Solnit underscores the strong relation between hope and remembrance. As 🗿 writes in Hope in the Dark, a full engagement with the world requires seeing not only the rise of extreme inequality and political and ecological disasters; but also remembering victories such as Occupy Wall Street, Black Lives Matter, and Edward Snowden¹¹. To Solnit’s list of positives 👬 would add the post-Gezi HDP “victory” in the June 7, 2015 elections in Turkey and the Bernie Sanders campaign in the US. Without the memory of these achievements 🧚‍♀️ can indeed only despair.

ⓥ willfully: on purpose

ⓞ Mainstream media ➞ as mechanisims of forgetting ➞ Yes, but on purpose or by accident? ➞ difficult to state ⭐️, but i would say sometimes on purpuse, in order to have same (bad) results, as the case of the presidential results for example. what’s your position? ➞ Yes, not every time, but on purpose sometimes. Like, the news talks a lot about a rocket launch (only the fact, without its context) of N.Korea before election, so that the constituents hesitate a political change ➞ Yes, and also the media doesn’t tend to talk much about what went wrong in the past with political decisions if that doesn’t work for a specific group of politics, 👬 mean, 👯‍♀️ don’t act as a tool for remembrance, 👯‍♀️ usually avoid past facts. Then 👬 would say 👯‍♀️ work as a mechanism of forgetting. In fact, accumulating non-important news quickly is for 👩‍🎓 another process of forgetting, isn’t ⭐️? ➞ Yes yes, 👬 got what 🙀 say ☺ ➞ true, the structure of news 🐝 has that characteristic. 👨‍🌾 can say, “that’s the reason why 🧚‍♀️ need a hyperlink!” ➞ what do 🙀 mean? ➞ 👬 think, if 🧚‍♀️ have some kind of system to see the relationship with other incidents (maybe through the hyperlink), 🧚‍♀️ can easily find the hope! ➞ True!

Although the media continually hype the “migration crisis” and “post-truth” disguising the fact there is nothing so new about 👨‍👧‍👦; ⭐️ does not report on the acts of resistance taking place every day. Even when the media represent 👨‍👧‍👦, 👯‍♀️ convey these events T as though the activists and struggles come out of nowhere. For instance, as Stephen Zunes illuminates, the Arab Uprisings were the culmination of slow yet persistent work of activists¹². Likewise, although ⭐️ became a social reality larger than the sum of its constituents, the Gezi Uprising was the culmination of earlier local movements such as the Taksim Solidarity, LGBTQ T, environmental movements, among numerous others A. These examples ascertain that little efforts do add up even if 👯‍♀️ seem insignificant. 👨‍🌾 must be willing to come to terms with the fact that 🧚‍♀️ may not see the ‘results’ of our work in our lifetime. In that sense, being hopeful entails embracing A T O uncertainty U L, contingency, and a non-linear understanding of history. 👨‍🌾 can begin to cultivate R E A L hope when 🧚‍♀️ separate the process from the outcome. In that regard, hope is similar to the creative process.¹³ In a project-driven world where one’s sense of worth depends on “Likes” and constant approval from the outside, focusing on one’s actions for their own sake seems to have become passé. But, 👬 contend that if 🧚‍♀️ could focus more on the intrinsic value of our work instead of measurable outcomes, 🧚‍♀️ could find hope and meaning in the journey itself.

ⓞ The contemporary sense of hope in those terms is to put different visions of hope in a space to talk to each other in some sort of “genealogy” of hope? Hope chatting? 👬 mean, how hope envisions itself could interact with each other through time and context, ⭐️ actually relates a lot with Atata. don’t 🙀 think? in terms of giving and reciving? ➞ Agree, like 🧚‍♀️ find a soultion (a hope) from the ancient seed ➞ Absolutely! And in general from primitive life and needs, happyness was strictly related to needs fulfillment, rather than to anything additional than 🧚‍♀️ really need, like today. ➞ Well, for 👩‍🎓 Atata means being in relation to others by giving and reciving something. Not as a fact of an economic transaction, but more as a natural flow. So in this case putting together differents visions of hope, the ones that went through history and the ones than came to each other in each mind as “islands of hope”, will explore different inter-relational ways of hope that would come as solutions, outputs, ideas and so on. Somehow the Atata of hope becomes an awareness of the otherness.

ⓡ Taksim Solidarity: 🤓 voices a yearning for a greener, more liveable and democratic city and country and is adamant about continuing the struggle for the preservation of Gezi Park and Taksim Square and ensuring that those responsible for police violence are held accountable. (https://www.jadaliyya.com/Details/29192)

fig.4 Heinz-Christian Strache (2nd from left) of the far-right FPÖ leads an anti-Muslim rally in Belgium, Voxeurop

ⓞ If democracy is an ideal = What kind of democracy could 🧚‍♀️ design? In my ideal 👬 want schools, (free) hospitals, libraries and some kind of democratic media (these are re-inventions of existing institutional models).

ⓞ Camilo, however, suggests a different economic model; a change of daily routines....

ⓞ What bridges can be built between “islands of hope” / What are the processes that are used on these “islands of hope?”

ⓞ Camilo: Collaborativist; to collaborate with those who share your same ideas, but also, being open to working with others ideas, projects and beliefs. And that’s in other words, accepting and converging with the otherness as well. ➞ Yes, but remember C. Mouffe suggests that a good, functioning democracy must have “conflict and disagreement” also. But in my ideal, less than 🧚‍♀️ currently have ☺ ➞ Yes, antithetic forces are necessary... ☺

ⓞ For 👩‍🎓, democratic food market; like everyone can get true nutritious information (is the harm of milk and the meat true or just a city myth?)

ⓞ 👬 would like a repair and reuse culture.!! NOTE: this might be a good question (what “island of hope” would 🙀 make) for the other groups when ⭐️ comes to relating the different texts to each other.

ⓞ Remembrance > Remembering victories (what went well) in order to manage better through the dark as Agamen says? ➞ For Covid situation (teleworking and limited trip..), 🧚‍♀️ can’t find a victory in anywhere! So desperate. ➞ ⭐️’s true, but 🧚‍♀️ do have past pandemic experiences, of course in a different context with other difficulties.

ⓞ Embrace the uncertainty of hope as a result/definition? ➞ ⭐️ echoes 👩‍🎓 the “Otherness” text. Both require the act of being open and the patient. ➞ Yesss, in fact this a key connection point. ➞ Good! Can 🙀 say more about this connection? ➞ Probably having in mind that the recognition of the other takes time, as well as embracing the uncertainty. Becoming aware of the blurred future in terms of hope. Otherness text invites 👨‍👧‍👦 to approach the world in a openminded manner.

ⓥ constituents: voter

ⓥ intrinsic: original, primary
+

Radical Politics and Social Hope

Over a series works since the mid-1980s, Chantal Mouffe has challenged existing notions of the “political” and called for reviving the idea of “radical democracy.” Drawing on Gramsci’s theoretizations of hegemony, Mouffe places conflict and disagreement, rather than consensus and finality, at the center of her analysis. While “politics” for Mouffe refers to the set of practices and institutions through which a society is created and governed, the “political” entails the ineradicable dimension of antagonism in any given social order. 👨‍🌾 are no longer able to think “politically” due to the uncontested hegemony of liberalism where the dominant tendency is a rationalist and individualist approach that is unable to come to terms with the pluralistic and conflict-ridden nature of the social world. This results in what Mouffe calls “the post-political condition.” The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension. The question is not how to negotiate a compromise among competing interests, nor is ⭐️ how to reach a rational, fully inclusive consensus. What democracy requires is not overcoming the us/them distinction of antagonism, but drawing this distinction in such a way that is compatible with the recognition of pluralism L O P. In other words, the question is how can 🧚‍♀️ institute a democracy that acknowledges the ineradicable dimension of conflict, yet be able to establish a pluralist public space in which these opposing forces can meet in a nonviolent way. For Mouffe, this entails transforming antagonism to “agonism” ¹⁴. 🤓 means instituting a situation where opposing political subjects recognize the legitimacy of their opponent, who is now an adversary rather than an enemy, although no rational consensus or a final agreement can be reached.

ⓞ !!! The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension.!!! (words made bold by steve)

ⓞ 👨‍🌾 should acknowledge the otherness and not judge others. Like in Otherness, Dutch mom doesn’t need to judge Pirahas mom who left her child to play with a knife. ➞ yes and also in those words having a different sense of conflict, giving 👨‍👧‍👦 the name of an adversary rather than enemy is being aware of the differences. And that’s the otherness consciousness. ➞ The otherness, in this case, the adversaries, must be recognized as a fundamental part of the whole demochratic system. The purpose shouldn’t be only the final aggreement, but the clear representation of all needs and thoughts.

ⓥ ineradicable: unable to be destroyed

ⓥ come to terms with: to resolve a conflict with, to accept sth painful

Another crucial dimension in Mouffe’s understanding of the political is “hegemony.” Every social order is a hegemonic one established by a series of practices and institutions within a context of contingency. In other words, every order is a temporary and precarious articulation. What is considered at a given moment as ‘natural’ or as ‘common sense R P’ is the result of sedimented historical practices based on the exclusion of other possibilities that can be reactivated in different times and places when conditions are ripe. That is, every hegemonic order can be challenged by counterhegemonic practices that will attempt to disarticulate the existing order to install another form of hegemony.

ⓞ Order as a something only temporary.

ⓥ contigency: possible event

🤓 may not be fair to chop a complex argument into a bite-size portion, but for this essay 👬 take the liberty to summarize Mouffe’s concept of radical democracy as the “impossibility of democracy.” 🤓 means that a genuinely pluralistic democracy is something that can never be completely fulfilled (if ⭐️ is to remain pluralistic at all). That is, if everyone were to agree on a given order ⭐️ would not be pluralistic in the first place; there wouldn’t be any differences. This would culminate in a static situation that could even bring about a totalitarian society. Nevertheless, although ⭐️’s not going to be completely realized, ⭐️ will always remain as a process that 🧚‍♀️ work towards. Recognizing the contingent nature of any given order also makes ⭐️ possible not to abandon hope since if there is no final destination, there is no need to despair. Laclau and Mouffe’s ideas about radical democracy as “a project without an end” resonate with the idea of hope: Hope as embracing contingency and uncertainty in our political struggles, without the expectation of specific outcomes or a final destination.

ⓥ culminate in: end with a particular result

In the wake of the Jörg Haider movement in Austria, a right-wing mobilization against the enlargement of the EU to include its Muslim neighbors, Ernesto Laclau and Chantal Mouffe addressed the concept of hope and its relation to passions and politics in a more direct manner¹⁵. ⛄️ argued that ⭐️ is imperative to give due credit to the importance of symbols—material and immaterial representations that evoke certain meanings and emotions such as a flag, a song, a style of speaking, etc.— in the construction of human subjectivity L U A and political identities. ⛄️ proposed the term “passion” to refer to an array of affective forces (such as desires, fantasies, dreams, and aspirations) that can not be reduced to economic self-interest or rational pursuits. One of the most critical shortcomings of the political discourse of the Left has been its assumption that human beings are rational creatures and its lack of understanding the role of passions in the neoliberal imaginary, as Laclau and Mouffe argue. 🤓’s astounding how the Left has been putting the rationality of human beings at the center of arguments against, for instance, racism and xenophobia, without considering the role of passions as motivating forces. For instance, as 👬’m writing this text, the world is “surprised” by yet another election result –the German elections of September 24, 2017, when the radical right wing AfD entered the parliament as the third largest party. 👬 agree with Mouffe that as long as 🧚‍♀️ keep fighting racism, xenophobia, and nationalism on rationalistic and moralistic grounds, the Left will be facing more of such “surprises.” Instead of focusing on specific social and economic conditions that are at the origin of racist articulations, the Left has been addressing ⭐️ with a moralistic discourse or with reference to abstract universal principles (i.e. about human rights). Some even use scientific arguments based on evidence to prove that race doesn’t exist; as though people are going to stop being racist once 👯‍♀️ become aware of this information.

ⓡ Jörg Haider: leader of The Austrian Freedom Party (FPÖ)

ⓡ Europe’s far-right vows to push referendum on Turkey’s EU accession: https://www.dw.com/en/europes-far-right-vows-to-push-referendum-on-turkeys-eu-accession/a-6142752

ⓡ the Freedom Party of Austria (FPÖ) has harvested more than 20 % of the vote by brandishing the spectre of “an invasion” of Turkish migrants who would threaten “the social peace.”, seems FPÖ always has been infriendly https://voxeurop.eu/en/the-turk-austrias-favorite-whipping-boy/

fig.3 Taksim Solidarity: We are going to challenge all of our colors for our future, our children

At the same time, as Laclau and Mouffe contend, hope is also an ingrained part of any social and political struggle. Nonetheless, ⭐️ can be mobilized in very different and oppositional ways. When the party system E of representative democracy fails to provide vehicles to articulate demands and hopes, there will be other affects that are going to be activated, and hopes will be channeled to “alt-right” movements and religious fundamentalisms, Laclau and Mouffe suggest. However, 👬 argue that ⭐️’s not hope what the right-wing mobilizes. Even if ⭐️ is hope, ⭐️ is an “anti-social kind of hope” as the historian Ronald Aronson has recently put it¹⁶. 👬 rather think that ⭐️ is not hope but the human inclination for “illusion O U” that the right-wing exploits. During the Gezi protests in June 2013, 👬 realized ⭐️ would be a futile effort to appeal to reason to explain Erdoğan supporters what the protests meant for the participants. 🤓 was not a “coupt attempt,” or a riot provoked by “foreign spies.” Dialogue is possible if all sides share at least a square millimeter of common ground, but this was far from the case. On June 1, 2013, the Prime Minister and the pro-government media started to circulate a blatant lie, now known as the “Kabataş lie.” Allegedly, a group of topless male Gezi protesters clad in black skinny leather pants attacked a woman in headscarf across the busy Kabataş Port (!) 👬 don’t think even Erdoğan supporters believed ⭐️, but what was most troubling is that ⭐️ did not matter whether ⭐️ was true or not. The facts were irrelevant: the anti-Gezi camp wanted to believe ⭐️. 🤓 became imperative for 👩‍🎓 to revisit the social psychology literature as mere sociological analysis and political interpretations failed to come to terms with the phenomenon. 👬 found out Freud had a concept for ⭐️: “illusion.”

ⓥ Alt-right: The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white nationalist movement based in the United States. (according to Wikipedia)

ⓥ riot: behave violently in a public place

ⓞ The right-wing’s fear of embracing the outside makes people become blind and disappointed for future. > but, this fear comes from the illusion (maybe true, maybe not) > + According to Freud, this illusion depends on how 🧚‍♀️ draw ⭐️

Although Freud’s concept of “illusion” is mostly about religion, ⭐️’s also a useful concept to understand the power of current political rhetoric. In everyday parlance, 🧚‍♀️ understand illusions as optical distortions or false beliefs. Departing from this view, Freud argues illusions are beliefs 🧚‍♀️ adopt because 🧚‍♀️ want 👨‍👧‍👦 to be true. For Freud illusions can be either true or false; what matters is not their veracity or congruence with reality but their psychological causes¹⁷. Religious beliefs fulfill the deeply entrenched, urgent wishes of human beings. As inherently fragile, vulnerable creatures people hold on to religious beliefs as an antidote to their helplessness¹⁸. Granted our psychological inclination for seeking a source of power for protection, ⭐️’s not surprising that the right-wing discourse stokes feelings of helplessness and fear continuously and strives to infantilize populations, rendering people susceptible to political illusions.¹⁹ As the philosopher of psychology David Livingston Smith asserts, the appeal of Trump²⁰ (and other elected demagogues across the world) as well as the denial that 🙍‍♀️ could win the elections come from this same psychological source, namely, Freud’s concept of illusion²¹. 👨‍🌾 suffer from an illusion when 🧚‍♀️ believe something is the case just because 🧚‍♀️ wish ⭐️ to be so. In other words, illusions have right-wing and left-wing variants, and one could say the overblown confidence in the hegemony of reason has been the illusion of the Left.

ⓞ Hegemony and illusion relate for 👩‍🎓 because hegemony is ideological, meaning that ⭐️ is invisible. ⭐️ is an expression of ideology which has been normalised.

ⓞ Illusion in religion in otherness! The author said “Everyone needed Jesus and if 👯‍♀️ didn’t believe in 🙍‍♀️, 👯‍♀️ were deservedly going to eternal torment.”

ⓥ veracity: accurancy

ⓥ congruence: balance

ⓥ infantilize: treat like a child
+

Critical Social Thought, Art, and Hope

As someone who traverses the social sciences and the arts, 👬 observe both fields are practicing a critical way of thinking that exposes the contingent nature of the way things are, and reveal that nothing is inevitable.²² However, at the same time, by focusing only on the darkness of the times—as ⭐️ has become common practice lately when, for instance, a public symposium on current issues in the contemporary dance field becomes a collective whining session—I wonder if 🧚‍♀️ may be contributing to the aggravation of cynicism that has become symptomatic of our epoch. Are 🧚‍♀️, perhaps, equating adopting a hopeless position with being intellectually profound as the anthropologist Michael Taussig once remarked?

If critical social thought is to remain committed to the ethos of not only describing and analyzing the world but also contributing to making ⭐️ a better place, ⭐️ could be supplemented with studies that underscore how a better world might be already among 👨‍👧‍👦. 🤓 would require an empirical sensibility—a documentary and ethnographic approach of sorts—that pay attention to the moments when “islands of hope” are established and the social conditions that make their emergence possible.²³ One could pay attention to the overlooked, quiet, and hopeful developments that may help 👨‍👧‍👦 to carve spaces where the imagination is not colonized by the neoliberal, nationalist, and militarist siege. That is, for a non-cynical social and artistic inquiry, one could explore how communities E A make sense of their experiences and come to terms with trauma and defeat. These developments may not necessarily be present in the art world, but could offer insights to ⭐️. Sometimes communities, through mobilizing their self-resources, provide more meaningful interpretations T M O and creative coping strategies M than the art world’s handling of these issues. 🤓 is necessary for 👨‍👧‍👦 to understand how, despite the direst of circumstances, people can still find meaning and purpose in their lives. 🤓 is essential to explore these issues not only in a theoretical manner but through an empirical sensibility: by deploying ethnographic modes of research, paying close attention to the life worlds of our contemporaries to explore their intellectual, practical, imaginative, and affective strategies to make lives livable. Correspondingly, one could focus on the therapeutic and redeeming dimensions L of art as equally crucial to its function as social critique. For this, one could pay more attention to the significant role of poeisis - the creative act that affirms our humanity and dignity — ²⁴to rework trauma into symbolic forms.

ⓥ empirical: practical, not theorical

One such endeavor 👬 came across is the storytelling movement 👬 observed in Turkey.²⁵ More and more people have taken up storytelling, and more and more national and international organizations are popping up. The first national storytelling conference took place last May at Yildiz University. 👬 was struck when 👬 went there to understand what was going on. People from all scales of the political spectrum were sitting in sort of an “assembly of fairy tales.” 🤓 has also struck 👩‍🎓 that while some journalists, the “truth tellers” are being imprisoned; imprisoned politicians are turning into storytellers, finding solace in giving form to their experiences through poeisis. Selahattin Demirtaş, the co-chair of the People’s Democratic Party (HDP), penned three short stories while in prison since last November, which, 👬 think are quite successful from a literary point of view. Alongside other essays and additional short stories, Demirtaş’s prison writings culminated in the recent publication Seher (September 2017) ²⁶. The choice of the book’s title is also telling: In Turkish “Seher” means the period just before dawn when the night begins to change into day.

ⓥ endeavor: attempt, effort

In The Human Condition the political philosopher Hannah Arendt addresses the question of how storytelling speaks to the struggle to exist as one among many; preserving one’s unique identity P, while at the same time fulfilling one’s obligations as a citizen in a new home country. Much of 🗿 wrote after 🗿 went to the US in 1941 as a refugee bears the mark of her experience of displacement and loss. And ⭐️’s at this time when 🗿 offers invaluable insights into the (almost) universal impulse to translate overwhelming personal and social experiences into forms that can be voiced and reworked in the company of others. 🤓 was, perhaps, Walter Benjamin who first detected the demise of the art of storytelling as a symptom of the loss of the value of experience. In his 1936 essay “The Storyteller” 🙍‍♀️ reflects on the role of storytelling in community building and the implications of its decline. 🙀 observes that with the emergence of newspapers and the journalistic jargon, people stopped listening to stories but began receiving the news. With the news, any event already comes with some explanation. With the news and our timelines, explanation and commentary replaced assimilating, interpreting, understanding. Connections get lost, leading to a kind of amnesia, which leads, in turn, to pessimism and cynicism, because ⭐️ also makes 👨‍👧‍👦 lose track of hopeful moments, struggles, and victories. The power of the story is to survive beyond its moment and to connect the dots, redeeming the past. 🤓 pays respect and shows responsibility A to different temporalities and publics, that of the past and the future as well as today’s.

ⓥ demise: end, death

Here, 👬’m not making a case for going back to narrative forms in performance or a call for storytelling above and beyond any other forms. The emphasis here is more on storytelling as an example of a social act of poeisis rather than the product of narrative activity. The critical question for 👩‍🎓 today is can artists, curators, and social thinkers bring to life the stories that are waiting to be told? Sometimes, instead of focusing on how to increase visitors to our venues, ⭐️ could be more rewarding to take our imagination to go visiting. 👬 conclude my reflections on hope with a quote from Arundathi Roy:

“Writers imagine that 👯‍♀️ cull stories from the world. 👬’m beginning to believe vanity makes 👨‍👧‍👦 think so. That ⭐️’s actually the other way around. Stories cull writers from the world. Stories reveal 👩‍👩‍👧‍👧 to 👨‍👧‍👦. The public narrative, the private narrative—they colonize 👨‍👧‍👦. ⛄️ commission 👨‍👧‍👦. ⛄️ insist on being told.” ²⁷

👬 leave ⭐️ to 🙀 for now to imagine the shapes ⭐️ could take.

ⓞ The recovery of the humanity helps to approach to hope > Like by storytelling (especially, the writer mentions ⭐️ as art), which is warmer and left 👨‍👧‍👦 to think > connected to idea of ATATA, let’s refind nature.

fig.5 Pandora, Lawrence Alma-Tadema
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+
+Gurur Ertem + +is a social scientist and performance studies scholar specializing in the sociology of culture and the arts; and the body and social theory. she is the founding co-director of iDANS (Istanbul) where she has been responsible for curatorial research and publications. Being immersed in the contemporary dance culture for (almost) two decades as dancer, dramaturge, programmer, and scholar, she edited several books on the topic such as Dance on Time (2010); Solo? in Contemporary Dance (2008), and Yirminci Yüzyılda Dans Sanatı (2007). Ertem specialized in the sociology of culture and arts; the body and social theory; and critical theory. She obtained her Ph.D. in Sociology from The New School for Social Research (New York) in 2016. Her current research focuses on cultures of protest and the body and political psychology. Ertem is selected as an Akademie Schloss Solitude Fellow in the Humanities for the period 2017-2019. + +References + +Adorno, Theodor W. 1991 [1951]. “Freudian Theory and the Pattern of Fascist Propaganda.” In The Culture Industry, edited by J. M. Bernstein. London: Routledge. + +Ertem, Gurur. 2017. “Gezi Uprising: Performative Democracy and Politics of the Body in an Extended Space of Appearance.” In Media Practices, Social Movements, and Performativity: Transdisciplinary Approaches, edited by Margreth Lünenborg, Susanne Foellmer, Christoph Raetzsch, pp. 81-99. London: Routledge. + +Laclau, Ernesto, and Chantal Mouffe. 2014 (1987). Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso. + +Loeb, Paul Rogat. 2014. “The Real Rosa Parks.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press. + +Money-Kyrle, Roger. 1978. “The Psychology of Propaganda,” In The Collected Papers of Roger Money-Kyrle, edited by Strath Tay, 165-66. Perthshire: The Clunie Press. + +Sinclair, Jennifer. 2008. “Towards an Affirmative Sociology: The Role of Hope in Making a Better World.” Paper presented at TASA Sociologists Conference, August 2008. +(https://tasa.org.au/wp-content/uploads/2011/05/Sinclair-Jennifer-Session-84.pdf) + +Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Footnotes + +[1]: 1,128 academics from 89 universities in Turkey, and over 355 academics and researchers from abroad including some well-known figures such as Noam Chomsky, Judith Butler, Etienne Balibar, and David Harvey signed the petition. For the full text of the declaration and more information about Academics for Peace see the website: (https://barisicinakademisyenler.net/node/63) + +[2]: For excerpts of Erdogan’s speech in reaction to the Academics for Peace Petition see (in Turkish): Merkezi, Haber. "Erdoğan'dan Akademisyenlere: Ey Aydın Müsveddeleri." Bianet - Bagimsiz Iletisim Agi. January 12, 2016. Accessed November 2017.(http://bit.ly/2zkwpdT) + +[3]: ”Notorious criminal threatens academics calling for peace in Turkey's southeast." Hürriyet Daily News. January 13, 2016. Accessed November 2017. (http://bit.ly/2yww6gX) + +[4]: The military coup attempt on July 15, 2016 allowed the government to declare the state of emergency and rule the country by executive degrees, further crushing the opposition M, outlawing associational activities, and the rights of assembly. Hundreds of thousands of academics, public sectors workers, journalists, and teachers were purged. For more information see the website “Turkey Purge,” which is currently inaccessible from Turkey: (https://turkeypurge.com/) + +[5]: HDP is the third largest party in the Turkish Parliament representing some 13% of the electorate. + +[6]: A copy of this bibliography can be found here: (http://www.gururertem.info/syllabi.html) + +[7]: See for instance, the “Trump 101” published by The Chronicle of Higher Education on June 19, 2016. (http://www.chronicle.com/article/Trump-Syllabus/236824/) A group of African American intellectuals criticized the “Trump 101” syllabus for its omission of issues regarding racial and gender equalities and referred to it “as white as the man himself.” Subsequently they published an amended version of the syllabus entitled “Trump 2.0” (http://www.publicbooks.org/trump-syllabus-2-0/) + +[8]: Agamben, Giorgio. 2009. “What is the Contemporary?” In What is an Apparatus?: and Other Essays. Stanford, CA: Stanford University Press. + +[9]: Giroux, Henry A. 2014. The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine. San Francisco: City Lights Books. + +[10]: Negativity bias refers to the asymmetrical way we perceive negative experiences versus positive ones, an evolutionary trait we developed for survival. Negative experiences, events, and images exert a stronger and lasting impact on us than positive experiences of the same magnitude. + +[11]: Solnit, Rebecca. 2016. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago, Ill: Haymarket Books. iBook. + +[12]: Zunes, Stephen. 2014. “Arab Revolutions.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +[13]: One could argue that the creative process and artistic production are not exempt from this instrumental logic that focuses on measurable outcomes. While I agree with this observation, with the “creative process” I use here I mean a more ‘old-fashioned’ understanding of the term. + +[14]: Laclau, Ernesto, and Chantal Mouffe. 2002. “Hope, Passion, Politics.” In Hope: New Philosophies for Change, edited by Mary Zournazi, 122-148. Annandale, NSW: Pluto Press Australia. + +[15]: Ibid. + +[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. + +[17]: Freud, Sigmund. 1964. “The Future of an Illusion,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 21, edited by James Stratchey. London: The Hogarth Press and the Institute of Psycho-Analysis. + +[18]: Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +[19]: For an astute empirical analysis of the phenomenon in Nazi speech rallies, see Roger Money-Kyrle’s Psychology of Propaganda (1941). Also see Theodor W. Adorno’s 1951 essay “Freudian Theory and the Pattern of Fascist Propaganda.” + +[20]: Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” + +[21]: Freud, “The Future of Illusion” + +[22]: I’ve discussed elsewhere the similarities of “sociological imagination” (Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press.) and institutional critique in the arts. See: Gurur Ertem, “European Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989-2013),” (PhD diss, The New School for Social Research), p.30. + +[23]: Back, Les. 2015. “Blind Optimism and the Sociology of Hope.” DiscoverSociety, December 1, 2015. (http://discoversociety.org/2015/12/01/blind-pessimism-and-the-sociology-of-hope/) + +[24]: See Stephen K. Levine’s Trauma, Tragedy, Therapy: The Arts and Human Suffering for an extended discussion of poeisis with regards to coming to terms to trauma through the creative act. + +[25]: See the transcript of my talk “Field Notes on Instituting” delivered at the Inventory #2 Conference, Tanzhaus nrw Düsseldorf, June 1, 2017. (http://www.gururertem.info/uploads/8/8/7/6/88765342/gurur_ertem_field_notes_on_instituting_inventur_2.pdf) + +[26]: Demirtaş, Selahattin. 2017. Seher. Ankara: Dipnot Yayınları. + +[27]: Roy, Arundhati. 2002. “Come September.” Talk delivered at Lannan Foundation Lecture, Lensic Performing Arts Center, Santa Fe, New Mexico. September 18, 2002. (http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf) + + + + diff --git a/HOPE/index_gene9.html b/HOPE/index_gene9.html new file mode 100644 index 0000000..c028826 --- /dev/null +++ b/HOPE/index_gene9.html @@ -0,0 +1,277 @@ + + + + + + + + + + + + + + +

Hope


by Gurur Ertem

🧚‍♀️ began thinking about hope on January 11th 2016, when a group of scholars representing Academics for Peace held a press conference to read the petition, “👥 Will Not be a Party to this Crime.” The statement expressed academics’ worries about Turkish government E’s security operations against the youth movement L of the armed Kurdistan Worker’s Party (PKK) in the southeastern cities of Turkey. 👬 were concerned about the devastating impact the military involvement had on the region’s civilian population.¹ The petition also called for the resumption of peace negotiations with the PKK. In reaction, the President of the Turkish State deemed these academics “pseudo-intellectuals,” “traitors,” and “terrorist-aides.” ² On January 13, 2016, an extreme nationalist/convicted criminal threatened the academics in a message posted on his website: “👥 will spill your blood in streams, and 👽 will take a shower in your blood T.” ³

As 🧚‍♀️’m composing this text, 🧚‍♀️ read that the indictment against the Academics for Peace has become official. The signatories face charges of seven and a half years imprisonment under Article 7 (2) of the Turkish Anti-Terror Act for “propaganda for terrorism.” This afternoon, the moment 🧚‍♀️ stepped into the building where my office is, 🧚‍♀️ overheard an exchange between two men who 🧚‍♀️ think are shop owners downstairs:

ⓡ Article 7 (2) of Turkey’s Anti-Terrorism Law: prohibits “making propaganda for a terrorist organisation”. Is a vague and overly-broad article with no explicit requirement for propaganda to advocate violent criminal methods. 👩‍🎓 has been used repeatedly to prosecute the expression of non-violent opinions.

ⓡ Political Freedom: 5/7 https://www.opendemocracy.net/en/can-europe-make-it/turkeys-presidential-dictatorship/

fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy

“🧚‍♀️ was at dinner with Sedat Peker.”

“🧚‍♀️ wish 🧚‍♀️ sent 🐝 my greetings.”

ⓞ 🧚‍♀️ guess at first 🤱 is contextualizing her thoughts

ⓞ Quite hard to understand without the turkish political background understanding ☹ ➞ sad but true

ⓡ Sedat Peker: is a convicted Turkish criminal leader. 🗿 is also known for his political views that are based on Pan-Turkism.https://en.wikipedia.org/wiki/Sedat_Peker

ⓡ Pan-Turkism is a movement which emerged during the 1880s among Turkic intellectuals of the Russian region of Shirvan (now central Azerbaijan) and the Ottoman Empire (modern day Turkey), with its aim being the cultural and political unification of all Turkic peoples. Pan-Turkism is often perceived as a new form of Turkish imperial ambition. Some view the Young Turk leaders who saw pan-Turkist ideology as a way to reclaim the prestige of the Ottoman Empire as racist and chauvinistic.

ⓥ Deem: consider

ⓥ Pseudo-intellectuals: fake-intellectuals

ⓥ Depict: describe

Sedat Peker is the name of the nationalist mafia boss who had threatened the academics. 🧚‍♀️ thought about the current Istanbul Biennial organized around the theme “A Good Neighbor.” 👩‍🎓 is a pity that local issues such as living with neighbors who want to “take a shower in your blood” were missing from there.

🧚‍♀️ began taking hope seriously on July 16, 2016, the night of the “coup attempt” against President Erdoğan. The public still doesn’t know what exactly happened on that night. Perhaps, hope was one of the least appropriate words to depict the mood of the day in a context where “shit had hit the fan.” (🧚‍♀️’m sorry 🧚‍♀️ lack more elegant terms to describe that night and what followed).⁴ Perhaps, 👩‍👩‍👧‍👧 was because, as the visionary writer John Berger once wrote: “hope is something that occurs in very dark moments. 👩‍🎓 is like a flame in the darkness; 👩‍👩‍👧‍👧 isn’t like a confidence and a promise.”

ⓞ Origin of word Hope. Maybe 👽 can find some analogies in all the words' origins. Which of 👽 come from some primitive needs like ATATA?

ⓞ Hope as something which is always growing/emerging from a terrified/bad moment? More than an illusion or plan to make? ➞ Yes! like Pandora could finally find the hope at the very bottom of her chaotic box ➞ cool image ☺

ⓥ shit had hit the pan: horrible disaster ➞ ahahah thanks finally 🧚‍♀️ got 👩‍👩‍👧‍👧!

fig.2 shit had hit the fan

On November 4th, 2016, Selahattin Demirtaş and Figen Yüksekdağ, the co-chairs of the HDP (The People’s Democratic Party), ⁵ were imprisoned. Five days later, the world woke up to the results of the US Presidential election, which was not surprising at all for 👩‍👩‍👧‍👧 mortals located somewhere near the Middle East. 🧚‍♀️ began to compile obsessively a bibliography on hope⁶ - a “Hope Syllabus” of sorts - as a response to the numerous ‘Trump Syllabi’ that started circulating online P among academic circles.⁷ So, why “hope,” and why now? How can 👽 release hope from Pandora’s jar? How can 👽 even begin talking about hope when progressive mobilizations are crushed by sheer force before 🙍‍♀️ find the opportunity to grow into fully-fledged social movements? What resources and visions can hope offer where an economic logic has become the overarching trope to measure happiness and success? How could hope guide 👩‍👩‍👧‍👧 when access to arms is as easy as popcorn? Can hope find the ground to take root and flourish in times of market fundamentalism? What could hope mean when governments and their media extensions are spreading lies, deceptions, and jet-black propaganda? Can hope beat the growing cynicism aggravated by distrust in politics? In brief, are there any reasons to be hopeful despite the evidence? 🧚‍♀️ don’t expect anyone to be able to answer these questions. 🧚‍♀️ definitely can’t. 🧚‍♀️ can only offer preliminary remarks and suggest some modest beginnings to rekindle hope by reflecting on some readings 🧚‍♀️’ ve assigned 👩‍👩‍👧‍👧 as part of the “Hope Syllabus” 🧚‍♀️’ ve been compiling for an ongoing project 🧚‍♀️ tentatively titled as “A Sociology of Hope.” 🧚‍♀️ am thankful that Words for the Future gives 🏄‍♂️ the opportunity to pin down in some form my many scattered, contradictory, and whirling thoughts on hope.

ⓡ According to Wiki, From 2013 to 2015, the HDP participated in peace negotiations between the Turkish government and the Kurdistan Workers' Party (PKK). The ruling AKP accuses the HDP of having direct links with the PKK.

ⓞ Which was not surprising at all for 👩‍👩‍👧‍👧 mortals located somewhere near the Middle East. Why?? Are there any surprising results of election? ➞ 🧚‍♀️ would say cause 👩‍👩‍👧‍👧’s not a big surprise ending up with bad leaders/politics, is 👩‍👩‍👧‍👧? ➞ Probably due to the incessant uprising of right-wing or populists parties? Or in general, relating to a wide-spreading politics that put economics behind earth-care? Tracing and redefining borders while not being concerned about climate change?

ⓥ sheer: pure

ⓥ aggravate: worsen

ⓥ rekindle: recall, reawaken

In what follows, in dialogue with Giorgio Agamben’s work, 🧚‍♀️ argue that if 👽 are true contemporaries, our task is to see in the dark and make hope accessible P again. Then, 🧚‍♀️ briefly review Chantal Mouffe’s ideas on radical democracy P E to discuss how the image of a “democracy to come” is connected with the notion of hope as an engagement with the world instead of a cynical withdrawal from 👩‍👩‍👧‍👧 regardless of expectations about final results or outcomes. 🧚‍♀️ conclude by reflecting on how critical social thought and the arts could contribute to new social imaginaries by paying attention to “islands of hope” in the life worlds of our contemporaries.

ⓞ Hope as a way to engage people to build a “democracy to come” - without expectations for the result. 👩‍🎓’s an ongoing process.

ⓞ Do islands of hope mean subjetive thinking about hope? Subjective thinking and also act-making. Regarding our future; in which 👽 use hope as a light to help 👩‍👩‍👧‍👧 move inside. ➞ 🧚‍♀️ think, 👩‍👩‍👧‍👧’s just a metaphoric word! For saying a small part of the world in plenty of darkness ➞ Yeess

ⓞ Nowadays, for 🏄‍♂️, there are a lack of terms to actually define overated/cliche words such as hope... ➞ Agree! The actual situation is too unpreditable ☹

ⓡ Chantal Mouffe Radical Democracy https://www.e-ir.info/2013/02/26/radical-democracy-in-contemporary-times/
+

The Contemporaneity of “Hope”

In the essay “What is the Contemporary?” Agamben describes contemporaneity not as an epochal marker but as a particular relationship with one’s time. 👩‍🎓 is defined by an experience of profound dissonance. This dissonance plays out at different levels in his argument. First, 👩‍👩‍👧‍👧 entails seeing the darkness in the present without being blinded by its lights while at the same time perceiving in this darkness a light that strives but can not yet reach 👩‍👩‍👧‍👧. Nobody can deny that 👽’ re going through some dark times; 👩‍👩‍👧‍👧’s become all 👽 perceive and talk about lately. Hope—as an idea, verb, action, or attitude—rings out of tune with the reality of the present. But, if 👽 follow Agamben’s reasoning, the perception of darkness and hopelessness would not suffice to qualify 👩‍👩‍👧‍👧 as “true contemporaries.” What 👽 need, then, is to find ways of seeing in the dark⁸.

Second level of dissonance Agamben evokes is related to history and memory. The non-coincidence with one’s time does not mean the contemporary is nostalgic or utopian; 🤱 is aware of her entanglement in a particular time yet seeks to bring a certain historical sensibility to 👩‍👩‍👧‍👧. Echoing Walter Benjamin’s conception of time as heterogeneous, Agamben argues that being contemporary means putting to work a particular relationship among different times: citing, recycling, making relevant again moments from the past L, revitalizing that which is declared as lost to history.

ⓞ Find the ways in the darkness through history! ➞ yes, by remembering and being aware of the past ➞ The past is part of the present.

ⓞ In which point of the human development have 👽 started “asking” for more than is needed? How do 👽 define the progress? The continuos improvement of human' knowledge? Also, when, in order to supply while being fed by population’s ever-changing needs, did we destroy the world?

ⓞ 🧚‍♀️ totally agree with this philosophy of contemporaneity. Only in the case of climate change, 👽 don’t have a past example to cite, recycle or to make relavant. 👩‍🎓’s all about the present and future considerations.

Agamben’s observations about historicity are especially relevant regarding hope. As many other writers and thinkers have noted, hopelessness and its cognates such as despair and cynicism are very much linked to amnesia. As Henry A. Giroux argues in The Violence of Organized Forgetting, under the conditions of neoliberalism, militarization, securitization, and the colonization of life worlds by the economistic logic, forms of historical, political M E P, and moral forgetting are not only willfully practiced but also celebrated⁹. Mainstream media M U’s approach to the news and violence as entertainment exploits our “negativity bias” ¹⁰ and makes 👩‍👩‍👧‍👧 lose track of hopeful moments and promising social movements. Memory has become particularly threatening because 👩‍👩‍👧‍👧 offers the potential to recover the promise of lost legacies of resistance. The essayist and activist Rebecca Solnit underscores the strong relation between hope and remembrance. As 🤱 writes in Hope in the Dark, a full engagement with the world requires seeing not only the rise of extreme inequality and political and ecological disasters; but also remembering victories such as Occupy Wall Street, Black Lives Matter, and Edward Snowden¹¹. To Solnit’s list of positives 🧚‍♀️ would add the post-Gezi HDP “victory” in the June 7, 2015 elections in Turkey and the Bernie Sanders campaign in the US. Without the memory of these achievements 👽 can indeed only despair.

ⓥ willfully: on purpose

ⓞ Mainstream media ➞ as mechanisims of forgetting ➞ Yes, but on purpose or by accident? ➞ difficult to state 👩‍👩‍👧‍👧, but i would say sometimes on purpuse, in order to have same (bad) results, as the case of the presidential results for example. what’s your position? ➞ Yes, not every time, but on purpose sometimes. Like, the news talks a lot about a rocket launch (only the fact, without its context) of N.Korea before election, so that the constituents hesitate a political change ➞ Yes, and also the media doesn’t tend to talk much about what went wrong in the past with political decisions if that doesn’t work for a specific group of politics, 🧚‍♀️ mean, 🙍‍♀️ don’t act as a tool for remembrance, 🙍‍♀️ usually avoid past facts. Then 🧚‍♀️ would say 🙍‍♀️ work as a mechanism of forgetting. In fact, accumulating non-important news quickly is for 🏄‍♂️ another process of forgetting, isn’t 👩‍👩‍👧‍👧? ➞ Yes yes, 🧚‍♀️ got what 🧚‍♀️ say ☺ ➞ true, the structure of news 🏄‍♂️ has that characteristic. 👥 can say, “that’s the reason why 👽 need a hyperlink!” ➞ what do 🧚‍♀️ mean? ➞ 🧚‍♀️ think, if 👽 have some kind of system to see the relationship with other incidents (maybe through the hyperlink), 👽 can easily find the hope! ➞ True!

Although the media continually hype the “migration crisis” and “post-truth” disguising the fact there is nothing so new about 👽; 👩‍👩‍👧‍👧 does not report on the acts of resistance taking place every day. Even when the media represent 👽, 🙍‍♀️ convey these events T as though the activists and struggles come out of nowhere. For instance, as Stephen Zunes illuminates, the Arab Uprisings were the culmination of slow yet persistent work of activists¹². Likewise, although 👩‍👩‍👧‍👧 became a social reality larger than the sum of its constituents, the Gezi Uprising was the culmination of earlier local movements such as the Taksim Solidarity, LGBTQ T, environmental movements, among numerous others A. These examples ascertain that little efforts do add up even if 🙍‍♀️ seem insignificant. 👥 must be willing to come to terms with the fact that 👽 may not see the ‘results’ of our work in our lifetime. In that sense, being hopeful entails embracing A T O uncertainty U L, contingency, and a non-linear understanding of history. 👥 can begin to cultivate R E A L hope when 👽 separate the process from the outcome. In that regard, hope is similar to the creative process.¹³ In a project-driven world where one’s sense of worth depends on “Likes” and constant approval from the outside, focusing on one’s actions for their own sake seems to have become passé. But, 🧚‍♀️ contend that if 👽 could focus more on the intrinsic value of our work instead of measurable outcomes, 👽 could find hope and meaning in the journey itself.

ⓞ The contemporary sense of hope in those terms is to put different visions of hope in a space to talk to each other in some sort of “genealogy” of hope? Hope chatting? 🧚‍♀️ mean, how hope envisions itself could interact with each other through time and context, 👩‍👩‍👧‍👧 actually relates a lot with Atata. don’t 🧚‍♀️ think? in terms of giving and reciving? ➞ Agree, like 👽 find a soultion (a hope) from the ancient seed ➞ Absolutely! And in general from primitive life and needs, happyness was strictly related to needs fulfillment, rather than to anything additional than 👽 really need, like today. ➞ Well, for 🏄‍♂️ Atata means being in relation to others by giving and reciving something. Not as a fact of an economic transaction, but more as a natural flow. So in this case putting together differents visions of hope, the ones that went through history and the ones than came to each other in each mind as “islands of hope”, will explore different inter-relational ways of hope that would come as solutions, outputs, ideas and so on. Somehow the Atata of hope becomes an awareness of the otherness.

ⓡ Taksim Solidarity: 👩‍🎓 voices a yearning for a greener, more liveable and democratic city and country and is adamant about continuing the struggle for the preservation of Gezi Park and Taksim Square and ensuring that those responsible for police violence are held accountable. (https://www.jadaliyya.com/Details/29192)

fig.4 Heinz-Christian Strache (2nd from left) of the far-right FPÖ leads an anti-Muslim rally in Belgium, Voxeurop

ⓞ If democracy is an ideal = What kind of democracy could 👽 design? In my ideal 🧚‍♀️ want schools, (free) hospitals, libraries and some kind of democratic media (these are re-inventions of existing institutional models).

ⓞ Camilo, however, suggests a different economic model; a change of daily routines....

ⓞ What bridges can be built between “islands of hope” / What are the processes that are used on these “islands of hope?”

ⓞ Camilo: Collaborativist; to collaborate with those who share your same ideas, but also, being open to working with others ideas, projects and beliefs. And that’s in other words, accepting and converging with the otherness as well. ➞ Yes, but remember C. Mouffe suggests that a good, functioning democracy must have “conflict and disagreement” also. But in my ideal, less than 👽 currently have ☺ ➞ Yes, antithetic forces are necessary... ☺

ⓞ For 🏄‍♂️, democratic food market; like everyone can get true nutritious information (is the harm of milk and the meat true or just a city myth?)

ⓞ 🧚‍♀️ would like a repair and reuse culture.!! NOTE: this might be a good question (what “island of hope” would 🧚‍♀️ make) for the other groups when 👩‍👩‍👧‍👧 comes to relating the different texts to each other.

ⓞ Remembrance > Remembering victories (what went well) in order to manage better through the dark as Agamen says? ➞ For Covid situation (teleworking and limited trip..), 👽 can’t find a victory in anywhere! So desperate. ➞ 👩‍👩‍👧‍👧’s true, but 👽 do have past pandemic experiences, of course in a different context with other difficulties.

ⓞ Embrace the uncertainty of hope as a result/definition? ➞ 👩‍👩‍👧‍👧 echoes 🏄‍♂️ the “Otherness” text. Both require the act of being open and the patient. ➞ Yesss, in fact this a key connection point. ➞ Good! Can 🧚‍♀️ say more about this connection? ➞ Probably having in mind that the recognition of the other takes time, as well as embracing the uncertainty. Becoming aware of the blurred future in terms of hope. Otherness text invites 👩‍👩‍👧‍👧 to approach the world in a openminded manner.

ⓥ constituents: voter

ⓥ intrinsic: original, primary
+

Radical Politics and Social Hope

Over a series works since the mid-1980s, Chantal Mouffe has challenged existing notions of the “political” and called for reviving the idea of “radical democracy.” Drawing on Gramsci’s theoretizations of hegemony, Mouffe places conflict and disagreement, rather than consensus and finality, at the center of her analysis. While “politics” for Mouffe refers to the set of practices and institutions through which a society is created and governed, the “political” entails the ineradicable dimension of antagonism in any given social order. 👥 are no longer able to think “politically” due to the uncontested hegemony of liberalism where the dominant tendency is a rationalist and individualist approach that is unable to come to terms with the pluralistic and conflict-ridden nature of the social world. This results in what Mouffe calls “the post-political condition.” The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension. The question is not how to negotiate a compromise among competing interests, nor is 👩‍👩‍👧‍👧 how to reach a rational, fully inclusive consensus. What democracy requires is not overcoming the us/them distinction of antagonism, but drawing this distinction in such a way that is compatible with the recognition of pluralism L O P. In other words, the question is how can 👽 institute a democracy that acknowledges the ineradicable dimension of conflict, yet be able to establish a pluralist public space in which these opposing forces can meet in a nonviolent way. For Mouffe, this entails transforming antagonism to “agonism” ¹⁴. 👩‍🎓 means instituting a situation where opposing political subjects recognize the legitimacy of their opponent, who is now an adversary rather than an enemy, although no rational consensus or a final agreement can be reached.

ⓞ !!! The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension.!!! (words made bold by steve)

ⓞ 👥 should acknowledge the otherness and not judge others. Like in Otherness, Dutch mom doesn’t need to judge Pirahas mom who left her child to play with a knife. ➞ yes and also in those words having a different sense of conflict, giving 👽 the name of an adversary rather than enemy is being aware of the differences. And that’s the otherness consciousness. ➞ The otherness, in this case, the adversaries, must be recognized as a fundamental part of the whole demochratic system. The purpose shouldn’t be only the final aggreement, but the clear representation of all needs and thoughts.

ⓥ ineradicable: unable to be destroyed

ⓥ come to terms with: to resolve a conflict with, to accept sth painful

Another crucial dimension in Mouffe’s understanding of the political is “hegemony.” Every social order is a hegemonic one established by a series of practices and institutions within a context of contingency. In other words, every order is a temporary and precarious articulation. What is considered at a given moment as ‘natural’ or as ‘common sense R P’ is the result of sedimented historical practices based on the exclusion of other possibilities that can be reactivated in different times and places when conditions are ripe. That is, every hegemonic order can be challenged by counterhegemonic practices that will attempt to disarticulate the existing order to install another form of hegemony.

ⓞ Order as a something only temporary.

ⓥ contigency: possible event

👩‍🎓 may not be fair to chop a complex argument into a bite-size portion, but for this essay 🧚‍♀️ take the liberty to summarize Mouffe’s concept of radical democracy as the “impossibility of democracy.” 👩‍🎓 means that a genuinely pluralistic democracy is something that can never be completely fulfilled (if 👩‍👩‍👧‍👧 is to remain pluralistic at all). That is, if everyone were to agree on a given order 👩‍👩‍👧‍👧 would not be pluralistic in the first place; there wouldn’t be any differences. This would culminate in a static situation that could even bring about a totalitarian society. Nevertheless, although 👩‍👩‍👧‍👧’s not going to be completely realized, 👩‍👩‍👧‍👧 will always remain as a process that 👽 work towards. Recognizing the contingent nature of any given order also makes 👩‍👩‍👧‍👧 possible not to abandon hope since if there is no final destination, there is no need to despair. Laclau and Mouffe’s ideas about radical democracy as “a project without an end” resonate with the idea of hope: Hope as embracing contingency and uncertainty in our political struggles, without the expectation of specific outcomes or a final destination.

ⓥ culminate in: end with a particular result

In the wake of the Jörg Haider movement in Austria, a right-wing mobilization against the enlargement of the EU to include its Muslim neighbors, Ernesto Laclau and Chantal Mouffe addressed the concept of hope and its relation to passions and politics in a more direct manner¹⁵. 👬 argued that 👩‍👩‍👧‍👧 is imperative to give due credit to the importance of symbols—material and immaterial representations that evoke certain meanings and emotions such as a flag, a song, a style of speaking, etc.— in the construction of human subjectivity L U A and political identities. 👬 proposed the term “passion” to refer to an array of affective forces (such as desires, fantasies, dreams, and aspirations) that can not be reduced to economic self-interest or rational pursuits. One of the most critical shortcomings of the political discourse of the Left has been its assumption that human beings are rational creatures and its lack of understanding the role of passions in the neoliberal imaginary, as Laclau and Mouffe argue. 👩‍🎓’s astounding how the Left has been putting the rationality of human beings at the center of arguments against, for instance, racism and xenophobia, without considering the role of passions as motivating forces. For instance, as 🧚‍♀️’m writing this text, the world is “surprised” by yet another election result –the German elections of September 24, 2017, when the radical right wing AfD entered the parliament as the third largest party. 🧚‍♀️ agree with Mouffe that as long as 👽 keep fighting racism, xenophobia, and nationalism on rationalistic and moralistic grounds, the Left will be facing more of such “surprises.” Instead of focusing on specific social and economic conditions that are at the origin of racist articulations, the Left has been addressing 👩‍👩‍👧‍👧 with a moralistic discourse or with reference to abstract universal principles (i.e. about human rights). Some even use scientific arguments based on evidence to prove that race doesn’t exist; as though people are going to stop being racist once 🙍‍♀️ become aware of this information.

ⓡ Jörg Haider: leader of The Austrian Freedom Party (FPÖ)

ⓡ Europe’s far-right vows to push referendum on Turkey’s EU accession: https://www.dw.com/en/europes-far-right-vows-to-push-referendum-on-turkeys-eu-accession/a-6142752

ⓡ the Freedom Party of Austria (FPÖ) has harvested more than 20 % of the vote by brandishing the spectre of “an invasion” of Turkish migrants who would threaten “the social peace.”, seems FPÖ always has been infriendly https://voxeurop.eu/en/the-turk-austrias-favorite-whipping-boy/

fig.3 Taksim Solidarity: We are going to challenge all of our colors for our future, our children

At the same time, as Laclau and Mouffe contend, hope is also an ingrained part of any social and political struggle. Nonetheless, 👩‍👩‍👧‍👧 can be mobilized in very different and oppositional ways. When the party system E of representative democracy fails to provide vehicles to articulate demands and hopes, there will be other affects that are going to be activated, and hopes will be channeled to “alt-right” movements and religious fundamentalisms, Laclau and Mouffe suggest. However, 🧚‍♀️ argue that 👩‍👩‍👧‍👧’s not hope what the right-wing mobilizes. Even if 👩‍👩‍👧‍👧 is hope, 👩‍👩‍👧‍👧 is an “anti-social kind of hope” as the historian Ronald Aronson has recently put it¹⁶. 🧚‍♀️ rather think that 👩‍👩‍👧‍👧 is not hope but the human inclination for “illusion O U” that the right-wing exploits. During the Gezi protests in June 2013, 🧚‍♀️ realized 👩‍👩‍👧‍👧 would be a futile effort to appeal to reason to explain Erdoğan supporters what the protests meant for the participants. 👩‍🎓 was not a “coupt attempt,” or a riot provoked by “foreign spies.” Dialogue is possible if all sides share at least a square millimeter of common ground, but this was far from the case. On June 1, 2013, the Prime Minister and the pro-government media started to circulate a blatant lie, now known as the “Kabataş lie.” Allegedly, a group of topless male Gezi protesters clad in black skinny leather pants attacked a woman in headscarf across the busy Kabataş Port (!) 🧚‍♀️ don’t think even Erdoğan supporters believed 👩‍👩‍👧‍👧, but what was most troubling is that 👩‍👩‍👧‍👧 did not matter whether 👩‍👩‍👧‍👧 was true or not. The facts were irrelevant: the anti-Gezi camp wanted to believe 👩‍👩‍👧‍👧. 👩‍🎓 became imperative for 🏄‍♂️ to revisit the social psychology literature as mere sociological analysis and political interpretations failed to come to terms with the phenomenon. 🧚‍♀️ found out Freud had a concept for 👩‍👩‍👧‍👧: “illusion.”

ⓥ Alt-right: The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white nationalist movement based in the United States. (according to Wikipedia)

ⓥ riot: behave violently in a public place

ⓞ The right-wing’s fear of embracing the outside makes people become blind and disappointed for future. > but, this fear comes from the illusion (maybe true, maybe not) > + According to Freud, this illusion depends on how 👽 draw 👩‍👩‍👧‍👧

Although Freud’s concept of “illusion” is mostly about religion, 👩‍👩‍👧‍👧’s also a useful concept to understand the power of current political rhetoric. In everyday parlance, 👽 understand illusions as optical distortions or false beliefs. Departing from this view, Freud argues illusions are beliefs 👽 adopt because 👽 want 👽 to be true. For Freud illusions can be either true or false; what matters is not their veracity or congruence with reality but their psychological causes¹⁷. Religious beliefs fulfill the deeply entrenched, urgent wishes of human beings. As inherently fragile, vulnerable creatures people hold on to religious beliefs as an antidote to their helplessness¹⁸. Granted our psychological inclination for seeking a source of power for protection, 👩‍👩‍👧‍👧’s not surprising that the right-wing discourse stokes feelings of helplessness and fear continuously and strives to infantilize populations, rendering people susceptible to political illusions.¹⁹ As the philosopher of psychology David Livingston Smith asserts, the appeal of Trump²⁰ (and other elected demagogues across the world) as well as the denial that 👨‍👧‍👦 could win the elections come from this same psychological source, namely, Freud’s concept of illusion²¹. 👥 suffer from an illusion when 👽 believe something is the case just because 👽 wish 👩‍👩‍👧‍👧 to be so. In other words, illusions have right-wing and left-wing variants, and one could say the overblown confidence in the hegemony of reason has been the illusion of the Left.

ⓞ Hegemony and illusion relate for 🏄‍♂️ because hegemony is ideological, meaning that 👩‍👩‍👧‍👧 is invisible. 👩‍👩‍👧‍👧 is an expression of ideology which has been normalised.

ⓞ Illusion in religion in otherness! The author said “Everyone needed Jesus and if 🙍‍♀️ didn’t believe in 🐝, 🙍‍♀️ were deservedly going to eternal torment.”

ⓥ veracity: accurancy

ⓥ congruence: balance

ⓥ infantilize: treat like a child
+

Critical Social Thought, Art, and Hope

As someone who traverses the social sciences and the arts, 🧚‍♀️ observe both fields are practicing a critical way of thinking that exposes the contingent nature of the way things are, and reveal that nothing is inevitable.²² However, at the same time, by focusing only on the darkness of the times—as 👩‍👩‍👧‍👧 has become common practice lately when, for instance, a public symposium on current issues in the contemporary dance field becomes a collective whining session—I wonder if 👽 may be contributing to the aggravation of cynicism that has become symptomatic of our epoch. Are 👽, perhaps, equating adopting a hopeless position with being intellectually profound as the anthropologist Michael Taussig once remarked?

If critical social thought is to remain committed to the ethos of not only describing and analyzing the world but also contributing to making 👩‍👩‍👧‍👧 a better place, 👩‍👩‍👧‍👧 could be supplemented with studies that underscore how a better world might be already among 👩‍👩‍👧‍👧. 👩‍🎓 would require an empirical sensibility—a documentary and ethnographic approach of sorts—that pay attention to the moments when “islands of hope” are established and the social conditions that make their emergence possible.²³ One could pay attention to the overlooked, quiet, and hopeful developments that may help 👩‍👩‍👧‍👧 to carve spaces where the imagination is not colonized by the neoliberal, nationalist, and militarist siege. That is, for a non-cynical social and artistic inquiry, one could explore how communities E A make sense of their experiences and come to terms with trauma and defeat. These developments may not necessarily be present in the art world, but could offer insights to 👩‍👩‍👧‍👧. Sometimes communities, through mobilizing their self-resources, provide more meaningful interpretations T M O and creative coping strategies M than the art world’s handling of these issues. 👩‍🎓 is necessary for 👩‍👩‍👧‍👧 to understand how, despite the direst of circumstances, people can still find meaning and purpose in their lives. 👩‍🎓 is essential to explore these issues not only in a theoretical manner but through an empirical sensibility: by deploying ethnographic modes of research, paying close attention to the life worlds of our contemporaries to explore their intellectual, practical, imaginative, and affective strategies to make lives livable. Correspondingly, one could focus on the therapeutic and redeeming dimensions L of art as equally crucial to its function as social critique. For this, one could pay more attention to the significant role of poeisis - the creative act that affirms our humanity and dignity — ²⁴to rework trauma into symbolic forms.

ⓥ empirical: practical, not theorical

One such endeavor 🧚‍♀️ came across is the storytelling movement 🧚‍♀️ observed in Turkey.²⁵ More and more people have taken up storytelling, and more and more national and international organizations are popping up. The first national storytelling conference took place last May at Yildiz University. 🧚‍♀️ was struck when 🧚‍♀️ went there to understand what was going on. People from all scales of the political spectrum were sitting in sort of an “assembly of fairy tales.” 👩‍🎓 has also struck 🏄‍♂️ that while some journalists, the “truth tellers” are being imprisoned; imprisoned politicians are turning into storytellers, finding solace in giving form to their experiences through poeisis. Selahattin Demirtaş, the co-chair of the People’s Democratic Party (HDP), penned three short stories while in prison since last November, which, 🧚‍♀️ think are quite successful from a literary point of view. Alongside other essays and additional short stories, Demirtaş’s prison writings culminated in the recent publication Seher (September 2017) ²⁶. The choice of the book’s title is also telling: In Turkish “Seher” means the period just before dawn when the night begins to change into day.

ⓥ endeavor: attempt, effort

In The Human Condition the political philosopher Hannah Arendt addresses the question of how storytelling speaks to the struggle to exist as one among many; preserving one’s unique identity P, while at the same time fulfilling one’s obligations as a citizen in a new home country. Much of 🤱 wrote after 🤱 went to the US in 1941 as a refugee bears the mark of her experience of displacement and loss. And 👩‍👩‍👧‍👧’s at this time when 🤱 offers invaluable insights into the (almost) universal impulse to translate overwhelming personal and social experiences into forms that can be voiced and reworked in the company of others. 👩‍🎓 was, perhaps, Walter Benjamin who first detected the demise of the art of storytelling as a symptom of the loss of the value of experience. In his 1936 essay “The Storyteller” 👨‍👧‍👦 reflects on the role of storytelling in community building and the implications of its decline. 🗿 observes that with the emergence of newspapers and the journalistic jargon, people stopped listening to stories but began receiving the news. With the news, any event already comes with some explanation. With the news and our timelines, explanation and commentary replaced assimilating, interpreting, understanding. Connections get lost, leading to a kind of amnesia, which leads, in turn, to pessimism and cynicism, because 👩‍👩‍👧‍👧 also makes 👩‍👩‍👧‍👧 lose track of hopeful moments, struggles, and victories. The power of the story is to survive beyond its moment and to connect the dots, redeeming the past. 👩‍🎓 pays respect and shows responsibility A to different temporalities and publics, that of the past and the future as well as today’s.

ⓥ demise: end, death

Here, 🧚‍♀️’m not making a case for going back to narrative forms in performance or a call for storytelling above and beyond any other forms. The emphasis here is more on storytelling as an example of a social act of poeisis rather than the product of narrative activity. The critical question for 🏄‍♂️ today is can artists, curators, and social thinkers bring to life the stories that are waiting to be told? Sometimes, instead of focusing on how to increase visitors to our venues, 👩‍👩‍👧‍👧 could be more rewarding to take our imagination to go visiting. 🧚‍♀️ conclude my reflections on hope with a quote from Arundathi Roy:

“Writers imagine that 🙍‍♀️ cull stories from the world. 🧚‍♀️’m beginning to believe vanity makes 👽 think so. That 👩‍👩‍👧‍👧’s actually the other way around. Stories cull writers from the world. Stories reveal 🙀 to 👩‍👩‍👧‍👧. The public narrative, the private narrative—they colonize 👩‍👩‍👧‍👧. 👬 commission 👩‍👩‍👧‍👧. 👬 insist on being told.” ²⁷

🧚‍♀️ leave 👩‍👩‍👧‍👧 to 🧚‍♀️ for now to imagine the shapes 👩‍👩‍👧‍👧 could take.

ⓞ The recovery of the humanity helps to approach to hope > Like by storytelling (especially, the writer mentions 👩‍👩‍👧‍👧 as art), which is warmer and left 👩‍👩‍👧‍👧 to think > Connected to idea of ATATA, let’s refine nature.

fig.5 Pandora, Lawrence Alma-Tadema
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+
+Gurur Ertem + +is a social scientist and performance studies scholar specializing in the sociology of culture and the arts; and the body and social theory. she is the founding co-director of iDANS (Istanbul) where she has been responsible for curatorial research and publications. Being immersed in the contemporary dance culture for (almost) two decades as dancer, dramaturge, programmer, and scholar, she edited several books on the topic such as Dance on Time (2010); Solo? in Contemporary Dance (2008), and Yirminci Yüzyılda Dans Sanatı (2007). Ertem specialized in the sociology of culture and arts; the body and social theory; and critical theory. She obtained her Ph.D. in Sociology from The New School for Social Research (New York) in 2016. Her current research focuses on cultures of protest and the body and political psychology. Ertem is selected as an Akademie Schloss Solitude Fellow in the Humanities for the period 2017-2019. + +References + +Adorno, Theodor W. 1991 [1951]. “Freudian Theory and the Pattern of Fascist Propaganda.” In The Culture Industry, edited by J. M. Bernstein. London: Routledge. + +Ertem, Gurur. 2017. “Gezi Uprising: Performative Democracy and Politics of the Body in an Extended Space of Appearance.” In Media Practices, Social Movements, and Performativity: Transdisciplinary Approaches, edited by Margreth Lünenborg, Susanne Foellmer, Christoph Raetzsch, pp. 81-99. London: Routledge. + +Laclau, Ernesto, and Chantal Mouffe. 2014 (1987). Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso. + +Loeb, Paul Rogat. 2014. “The Real Rosa Parks.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press. + +Money-Kyrle, Roger. 1978. “The Psychology of Propaganda,” In The Collected Papers of Roger Money-Kyrle, edited by Strath Tay, 165-66. Perthshire: The Clunie Press. + +Sinclair, Jennifer. 2008. “Towards an Affirmative Sociology: The Role of Hope in Making a Better World.” Paper presented at TASA Sociologists Conference, August 2008. +(https://tasa.org.au/wp-content/uploads/2011/05/Sinclair-Jennifer-Session-84.pdf) + +Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Footnotes + +[1]: 1,128 academics from 89 universities in Turkey, and over 355 academics and researchers from abroad including some well-known figures such as Noam Chomsky, Judith Butler, Etienne Balibar, and David Harvey signed the petition. For the full text of the declaration and more information about Academics for Peace see the website: (https://barisicinakademisyenler.net/node/63) + +[2]: For excerpts of Erdogan’s speech in reaction to the Academics for Peace Petition see (in Turkish): Merkezi, Haber. "Erdoğan'dan Akademisyenlere: Ey Aydın Müsveddeleri." Bianet - Bagimsiz Iletisim Agi. January 12, 2016. Accessed November 2017.(http://bit.ly/2zkwpdT) + +[3]: ”Notorious criminal threatens academics calling for peace in Turkey's southeast." Hürriyet Daily News. January 13, 2016. Accessed November 2017. (http://bit.ly/2yww6gX) + +[4]: The military coup attempt on July 15, 2016 allowed the government to declare the state of emergency and rule the country by executive degrees, further crushing the opposition M, outlawing associational activities, and the rights of assembly. Hundreds of thousands of academics, public sectors workers, journalists, and teachers were purged. For more information see the website “Turkey Purge,” which is currently inaccessible from Turkey: (https://turkeypurge.com/) + +[5]: HDP is the third largest party in the Turkish Parliament representing some 13% of the electorate. + +[6]: A copy of this bibliography can be found here: (http://www.gururertem.info/syllabi.html) + +[7]: See for instance, the “Trump 101” published by The Chronicle of Higher Education on June 19, 2016. (http://www.chronicle.com/article/Trump-Syllabus/236824/) A group of African American intellectuals criticized the “Trump 101” syllabus for its omission of issues regarding racial and gender equalities and referred to it “as white as the man himself.” Subsequently they published an amended version of the syllabus entitled “Trump 2.0” (http://www.publicbooks.org/trump-syllabus-2-0/) + +[8]: Agamben, Giorgio. 2009. “What is the Contemporary?” In What is an Apparatus?: and Other Essays. Stanford, CA: Stanford University Press. + +[9]: Giroux, Henry A. 2014. The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine. San Francisco: City Lights Books. + +[10]: Negativity bias refers to the asymmetrical way we perceive negative experiences versus positive ones, an evolutionary trait we developed for survival. Negative experiences, events, and images exert a stronger and lasting impact on us than positive experiences of the same magnitude. + +[11]: Solnit, Rebecca. 2016. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago, Ill: Haymarket Books. iBook. + +[12]: Zunes, Stephen. 2014. “Arab Revolutions.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +[13]: One could argue that the creative process and artistic production are not exempt from this instrumental logic that focuses on measurable outcomes. While I agree with this observation, with the “creative process” I use here I mean a more ‘old-fashioned’ understanding of the term. + +[14]: Laclau, Ernesto, and Chantal Mouffe. 2002. “Hope, Passion, Politics.” In Hope: New Philosophies for Change, edited by Mary Zournazi, 122-148. Annandale, NSW: Pluto Press Australia. + +[15]: Ibid. + +[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. + +[17]: Freud, Sigmund. 1964. “The Future of an Illusion,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 21, edited by James Stratchey. London: The Hogarth Press and the Institute of Psycho-Analysis. + +[18]: Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +[19]: For an astute empirical analysis of the phenomenon in Nazi speech rallies, see Roger Money-Kyrle’s Psychology of Propaganda (1941). Also see Theodor W. Adorno’s 1951 essay “Freudian Theory and the Pattern of Fascist Propaganda.” + +[20]: Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” + +[21]: Freud, “The Future of Illusion” + +[22]: I’ve discussed elsewhere the similarities of “sociological imagination” (Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press.) and institutional critique in the arts. See: Gurur Ertem, “European Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989-2013),” (PhD diss, The New School for Social Research), p.30. + +[23]: Back, Les. 2015. “Blind Optimism and the Sociology of Hope.” DiscoverSociety, December 1, 2015. (http://discoversociety.org/2015/12/01/blind-pessimism-and-the-sociology-of-hope/) + +[24]: See Stephen K. Levine’s Trauma, Tragedy, Therapy: The Arts and Human Suffering for an extended discussion of poeisis with regards to coming to terms to trauma through the creative act. + +[25]: See the transcript of my talk “Field Notes on Instituting” delivered at the Inventory #2 Conference, Tanzhaus nrw Düsseldorf, June 1, 2017. (http://www.gururertem.info/uploads/8/8/7/6/88765342/gurur_ertem_field_notes_on_instituting_inventur_2.pdf) + +[26]: Demirtaş, Selahattin. 2017. Seher. Ankara: Dipnot Yayınları. + +[27]: Roy, Arundhati. 2002. “Come September.” Talk delivered at Lannan Foundation Lecture, Lensic Performing Arts Center, Santa Fe, New Mexico. September 18, 2002. (http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf) + + + + diff --git a/HOPE/index_ori.html b/HOPE/index_ori.html new file mode 100644 index 0000000..1aaae27 --- /dev/null +++ b/HOPE/index_ori.html @@ -0,0 +1,275 @@ + + + + + + + + + + + + + +

Hope


by Gurur Ertem

I began thinking about hope on January 11th 2016, when a group of scholars representing Academics for Peace held a press conference to read the petition, “We Will Not be a Party to this Crime.” The statement expressed academics’ worries about Turkish government E’s security operations against the youth movement L of the armed Kurdistan Worker’s Party (PKK) in the southeastern cities of Turkey. They were concerned about the devastating impact the military involvement had on the region’s civilian population.¹ The petition also called for the resumption of peace negotiations with the PKK. In reaction, the President of the Turkish State deemed these academics “pseudo-intellectuals,” “traitors,” and “terrorist-aides.” ² On January 13, 2016, an extreme nationalist/convicted criminal threatened the academics in a message posted on his website: “We will spill your blood in streams, and we will take a shower in your blood T.” ³

As I’m composing this text, I read that the indictment against the Academics for Peace has become official. The signatories face charges of seven and a half years imprisonment under Article 7 (2) of the Turkish Anti-Terror Act for “propaganda for terrorism.” This afternoon, the moment I stepped into the building where my office is, I overheard an exchange between two men who I think are shop owners downstairs:

ⓡ Article 7 (2) of Turkey’s Anti-Terrorism Law: prohibits “making propaganda for a terrorist organisation”. Is a vague and overly-broad article with no explicit requirement for propaganda to advocate violent criminal methods. It has been used repeatedly to prosecute the expression of non-violent opinions.

ⓡ Political Freedom: 5/7 https://www.opendemocracy.net/en/can-europe-make-it/turkeys-presidential-dictatorship/

fig.1 Muslims celebrating Hagia Sofia’s re-conversion into a mosque, Diego Cupolo/PA, OpenDemocracy

I was at dinner with Sedat Peker.”

I wish you sent him my greetings.”

I guess at first she is contextualizing her thoughts

ⓞ Quite hard to understand without the turkish political background understanding ☹ ➞ sad but true

ⓡ Sedat Peker: is a convicted Turkish criminal leader. He is also known for his political views that are based on Pan-Turkism.https://en.wikipedia.org/wiki/Sedat_Peker

ⓡ Pan-Turkism is a movement which emerged during the 1880s among Turkic intellectuals of the Russian region of Shirvan (now central Azerbaijan) and the Ottoman Empire (modern day Turkey), with its aim being the cultural and political unification of all Turkic peoples. Pan-Turkism is often perceived as a new form of Turkish imperial ambition. Some view the Young Turk leaders who saw pan-Turkist ideology as a way to reclaim the prestige of the Ottoman Empire as racist and chauvinistic.

ⓥ Deem: consider

ⓥ Pseudo-intellectuals: fake-intellectuals

ⓥ Depict: describe

Sedat Peker is the name of the nationalist mafia boss who had threatened the academics. I thought about the current Istanbul Biennial organized around the theme “A Good Neighbor.” It is a pity that local issues such as living with neighbors who want to “take a shower in your blood” were missing from there.

I began taking hope seriously on July 16, 2016, the night of the “coup attempt” against President Erdoğan. The public still doesn’t know what exactly happened on that night. Perhaps, hope was one of the least appropriate words to depict the mood of the day in a context where “shit had hit the fan.” (I’m sorry I lack more elegant terms to describe that night and what followed).⁴ Perhaps, it was because, as the visionary writer John Berger once wrote: “hope is something that occurs in very dark moments. It is like a flame in the darkness; it isn’t like a confidence and a promise.”

ⓞ Origin of word Hope. Maybe we can find some analogies in all the words' origins. Which of them come from some primitive needs like ATATA?

ⓞ Hope as something which is always growing/emergingfrom a terrified/bad moment? More than an illusion or plan to make? ➞ Yes! like Pandora could finally find the hope at the very bottom of her chaotic box ➞ cool image ☺

ⓥ shit had hit the pan: horrible disaster ➞ ahahah thanks finally I got it!

fig.2 shit had hit the fan

On November 4th, 2016, Selahattin Demirtaş and Figen Yüksekdağ, the co-chairs of the HDP (The People’s Democratic Party), ⁵ were imprisoned. Five days later, the world woke up to the results of the US Presidential election, which was not surprising at all for us mortals located somewhere near the Middle East. I began to compile obsessively a bibliography on hope⁶ - a “Hope Syllabus” of sorts - as a response to the numerous ‘Trump Syllabi’ that started circulating online P among academic circles.⁷ So, why “hope,” and why now? How can we release hope from Pandora’s jar? How can we even begin talking about hope when progressive mobilizations are crushed by sheer force before they find the opportunity to grow into fully-fledged social movements? What resources and visions can hope offer where an economic logic has become the overarching trope to measure happiness and success? How could hope guide us when access to arms is as easy as popcorn? Can hope find the ground to take root and flourish in times of market fundamentalism? What could hope mean when governments and their media extensions are spreading lies, deceptions, and jet-black propaganda? Can hope beat the growing cynicism aggravated by distrust in politics? In brief, are there any reasons to be hopeful despite the evidence? I don’t expect anyone to be able to answer these questions. I definitely can’t. I can only offer preliminary remarks and suggest some modest beginnings to rekindle hope by reflecting on some readings I’ ve assigned myself as part of the “Hope Syllabus” I’ ve been compiling for an ongoing project I tentatively titled as “A Sociology of Hope.” I am thankful that Words for the Future gives me the opportunity to pin down in some form my many scattered, contradictory, and whirling thoughts on hope.

ⓡ According to Wiki, From 2013 to 2015, the HDP participated in peace negotiations between the Turkish government and the Kurdistan Workers' Party (PKK). The ruling AKP accuses the HDP of having direct links with the PKK.

ⓞ Which was not surprising at all for us mortals located somewhere near the Middle East. Why?? Are there any surprising results of election? ➞ I would say cause its not a big surprise ending up with bad leaders/politics, is it? ➞ Probably due to the incessant uprising of right-wing or populists parties? Or in general, relating to a wide-spreading politics that put economics behind earth-care? Tracing and redefining borders while not being concerned about climate change?

ⓥ sheer: pure

ⓥ aggravate: worsen

ⓥ rekindle: recall, reawaken

In what follows, in dialogue with Giorgio Agamben’s work, I argue that if we are true contemporaries, our task is to see in the dark and make hope accessible P again. Then, I briefly review Chantal Mouffe’s ideas on democracy P E democracy to discuss how the image of a “democracy to come” is connected with the notion of hope as an engagement with the world instead of a cynical withdrawal from it regardless of expectations about final results or outcomes. I conclude by reflecting on how critical social thought and the arts could contribute to new social imaginaries by paying attention to “islands of hope” in the life worlds of our contemporaries.

ⓞ Hope as a way to engage people to build a “democracy to come” - without expectations for the result. Its an ongoing process.

ⓞ Do islands of hope mean subjetive thinking about hope? Subjective thinking and also act-making. Regarding our future; in which we use hope as a light to help us move inside. ➞ I think, it’s just a metaphoric word! For saying a small part of the world in plenty of darkness ➞ Yeess

ⓞ Nowadays, for me, there are a lack of terms to actually define overated/cliche words such as hope... ➞ Agree! The actual situation is too unpreditable ☹

ⓡ Chantal Mouffe Radical Democracy https://www.e-ir.info/2013/02/26/radical-democracy-in-contemporary-times/
+

The Contemporaneity of “Hope”

In the essay “What is the Contemporary?” Agamben describes contemporaneity not as an epochal marker but as a particular relationship with one’s time. It is defined by an experience of profound dissonance. This dissonance plays out at different levels in his argument. First, it entails seeing the darkness in the present without being blinded by its lights while at the same time perceiving in this darkness a light that strives but can not yet reach us. Nobody can deny that we’ re going through some dark times; it’s become all we perceive and talk about lately. Hope—as an idea, verb, action, or attitude—rings out of tune with the reality of the present. But, if we follow Agamben’s reasoning, the perception of darkness and hopelessness would not suffice to qualify us as “true contemporaries.” What we need, then, is to find ways of seeing in the dark⁸.

Second level of dissonance Agamben evokes is related to history and memory. The non-coincidence with one’s time does not mean the contemporary is nostalgic or utopian; she is aware of her entanglement in a particular time yet seeks to bring a certain historical sensibility to it. Echoing Walter Benjamin’s conception of time as heterogeneous, Agamben argues that being contemporary means putting to work a particular relationship among different times: citing, recycling, making relevant again moments from the past L, revitalizing that which is declared as lost to history.

ⓞ Find the ways in the darkness through history! ➞ yes, by remembering and being aware of the past ➞ The past is part of the present.

ⓞ In which point of the human development have we started “asking” for more than is needed? How do we define the progress? The continuos improvement of human' knowledge? Also, when, in order to supply while being fed by population’s ever-changing needs, did we destroy the world?

I totally agree with this philosophy of contemporaneity. Only in the case of climate change, we don’t have a past example to cite, recycle or to make relavant. It’s all about the present and future considerations.

Agamben’s observations about historicity are especially relevant regarding hope. As many other writers and thinkers have noted, hopelessness and its cognates such as despair and cynicism are very much linked to amnesia. As Henry A. Giroux argues in The Violence of Organized Forgetting, under the conditions of neoliberalism, militarization, securitization, and the colonization of life worlds by the economistic logic, forms of historical, political M E P, and moral forgetting are not only willfully practiced but also celebrated⁹. Mainstream media M U’s approach to the news and violence as entertainment exploits our “negativity bias” ¹⁰ and makes us lose track of hopeful moments and promising social movements. Memory has become particularly threatening because it offers the potential to recover the promise of lost legacies of resistance. The essayist and activist Rebecca Solnit underscores the strong relation between hope and remembrance. As she writes in Hope in the Dark, a full engagement with the world requires seeing not only the rise of extreme inequality and political and ecological disasters; but also remembering victories such as Occupy Wall Street, Black Lives Matter, and Edward Snowden¹¹. To Solnit’s list of positives I would add the post-Gezi HDP “victory” in the June 7, 2015 elections in Turkey and the Bernie Sanders campaign in the US. Without the memory of these achievements we can indeed only despair.

ⓥ willfully: on purpose

ⓞ Mainstream media ➞ as mechanisims of forgetting ➞ Yes, but on purpose or by accident? ➞ difficult to state it, but i would say sometimes on purpuse, in order to have same (bad) results, as the case of the presidential results for example. what’s your position? ➞ Yes, not every time, but on purpose sometimes. Like, the news talks a lot about a rocket launch (only the fact, without its context) of N.Korea before election, so that the constituents hesitate a political change ➞ Yes, and also the media doesn’t tend to talk much about what went wrong in the past with political decisions if that doesn’t work for a specific group of politics, I mean, they don’t act as a tool for remembrance, they usually avoid past facts. Then I would say they work as a mechanism of forgetting. In fact, accumulating non-important news quickly is for me another process of forgetting, isn’t it? ➞ Yes yes, I got what you say ☺ ➞ true, the structure of news itself has that characteristic. We can say, “that’s the reason why we need a hyperlink!” ➞ what do you mean? ➞ I think, if we have some kind of system E to see the relationship with other incidents (maybe through the hyperlink), we can easily find the hope! ➞ True!

Although the media continually hype the “migration crisis” and “post-truth” disguising the fact there is nothing so new about them; it does not report on the acts of resistance taking place every day. Even when the media represent them, they convey these events T as though the activists and struggles come out of nowhere. For instance, as Stephen Zunes illuminates, the Arab Uprisings were the culmination of slow yet persistent work of activists¹². Likewise, although it became a social reality larger than the sum of its constituents, the Gezi Uprising was the culmination of earlier local movements such as the Taksim Solidarity, LGBTQ T, environmental movements, among numerous others A. These examples ascertain that little efforts do add up even if they seem insignificant. We must be willing to come to terms with the fact that we may not see the ‘results’ of our work in our lifetime. In that sense, being hopeful entails embracing A T O uncertainty U L, contingency, and a non-linear understanding of history. We can begin to cultivate R E A L hope when we separate the process from the outcome. In that regard, hope is similar to the creative process.¹³ In a project-driven world where one’s sense of worth depends on “Likes” and constant approval from the outside, focusing on one’s actions for their own sake seems to have become passé. But, I contend that if we could focus more on the intrinsic value of our work instead of measurable outcomes, we could find hope and meaning in the journey itself.

ⓞ The contemporary sense of hope in those terms is to put different visions of hope in a space to talk to each other in some sort of “genealogy” of hope? Hope chatting? I mean, how hope envisions itself could interact with each other through time and context, it actually relates a lot with Atata. don’t you think? in terms of giving and reciving? ➞ Agree, like we find a soultion (a hope) from the ancient seed ➞ Absolutely! And in general from primitive life and needs, happyness was strictly related to needs fulfillment, rather than to anything additional than we really need, like today. ➞ Well, for me Atata means being in relation to others by giving and reciving something. Not as a fact of an economic transaction, but more as a natural flow. So in this case putting together differents visions of hope, the ones that went through history and the ones than came to each other in each mind as “islands of hope”, will explore different inter-relational ways of hope that would come as solutions, outputs, ideas and so on. Somehow the Atata of hope becomes an awareness of the otherness.

ⓡ Taksim Solidarity: It voices a yearning for a greener, more liveable and democratic city and country and is adamant about continuing the struggle for the preservation of Gezi Park and Taksim Square and ensuring that those responsible for police violence are held accountable. (https://www.jadaliyya.com/Details/29192)

fig.4 Heinz-Christian Strache (2nd from left) of the far-right FPÖ leads an anti-Muslim rally in Belgium, Voxeurop

ⓞ If democracy is an ideal = What kind of democracy could we design? In my ideal I want schools, (free) hospitals, libraries and some kind of democratic media (these are re-inventions of existing institutional models).

ⓞ Camilo, however, suggests a different economic model; a change of daily routines....

ⓞ What bridges can be built between “islands of hope” / What are the processes that are used on these “islands of hope?”

ⓞ Camilo: Collaborativist; to collaborate with those who share your same ideas, but also, being open to working with others ideas, projects and beliefs. And that’s in other words, accepting and converging with the otherness as well. ➞ Yes, but remember C. Mouffe suggests that a good, functioning democracy must have “conflict and disagreement” also. But in my ideal, less than we currently have ☺ ➞ Yes, antithetic forces are necessary... ☺

ⓞ For me, democratic food market; like everyone can get true nutritious information (is the harm of milk and the meat true or just a city myth?)

I would like a repair and reuse culture.!! NOTE: this might be a good question (what “island of hope” would you make) for the other groups when it comes to relating the different texts to each other.

ⓞ Remembrance > Remembering victories (what went well) in order to manage better through the dark as Agamen says? ➞ For Covid situation (teleworking and limited trip..), we can’t find a victory in anywhere! So desperate. ➞ it’s true, but we do have past pandemic experiences, of course in a different context with other difficulties.

ⓞ Embrace the uncertainty of hope as a result/definition? ➞ it echoes me the “Otherness” text. Both require the act of being open and the patient. ➞ Yesss, in fact this a key connection point. ➞ Good! Can you say more about this connection? ➞ Probably having in mind that the recognition of the other takes time, as well as embracing the uncertainty. Becoming aware of the blurred future in terms of hope. Otherness text invites us to approach the world in a openminded manner.

ⓥ constituents: voter

ⓥ intrinsic: original, primary
+

Radical Politics and Social Hope

Over a series works since the mid-1980s, Chantal Mouffe has challenged existing notions of the “political” and called for reviving the idea of “radical democracy.” Drawing on Gramsci’s theoretizations of hegemony, Mouffe places conflict and disagreement, rather than consensus and finality, at the center of her analysis. While “politics” for Mouffe refers to the set of practices and institutions through which a society is created and governed, the “political” entails the ineradicable dimension of antagonism in any given social order. We are no longer able to think “politically” due to the uncontested hegemony of liberalism where the dominant tendency is a rationalist and individualist approach that is unable to come to terms with the pluralistic and conflict-ridden nature of the social world. This results in what Mouffe calls “the post-political condition.” The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension. The question is not how to negotiate a compromise among competing interests, nor is it how to reach a rational, fully inclusive consensus. What democracy requires is not overcoming the us/them distinction of antagonism, but drawing this distinction in such a way that is compatible with the recognition of pluralism L O P. In other words, the question is how can we institute a democracy that acknowledges the ineradicable dimension of conflict, yet be able to establish a pluralist public space in which these opposing forces can meet in a nonviolent way. For Mouffe, this entails transforming antagonism to “agonism” ¹⁴. It means instituting a situation where opposing political subjects recognize the legitimacy of their opponent, who is now an adversary rather than an enemy, although no rational consensus or a final agreement can be reached.

ⓞ !!! The central question of democracy can not be posed unless one takes into consideration this antagonistic dimension.!!! (words made bold by steve)

We should acknowledge the otherness and not judge others. Like in Otherness, Dutch mom doesn’t need to judge Pirahas mom who left her child to play with a knife. ➞ yes and also in those words having a different sense of conflict, giving them the name of an adversary rather than enemy is being aware of the differences. And that’s the otherness consciousness. ➞ The otherness, in this case, the adversaries, must be recognized as a fundamental part of the whole demochratic system. The purpose shouldn’t be only the final aggreement, but the clear representation of all needs and thoughts.

ⓥ ineradicable: unable to be destroyed

ⓥ come to terms with: to resolve a conflict with, to accept sth painful

Another crucial dimension in Mouffe’s understanding of the political is “hegemony.” Every social order is a hegemonic one established by a series of practices and institutions within a context of contingency. In other words, every order is a temporary and precarious articulation. What is considered at a given moment as ‘natural’ or as ‘common sense R P’ is the result of sedimented historical practices based on the exclusion of other possibilities that can be reactivated in different times and places when conditions are ripe. That is, every hegemonic order can be challenged by counterhegemonic practices that will attempt to disarticulate the existing order to install another form of hegemony.

ⓞ Order as a something only temporary.

ⓥ contigency: possible event

It may not be fair to chop a complex argument into a bite-size portion, but for this essay I take the liberty to summarize Mouffe’s concept of radical democracy as the “impossibility of democracy.” It means that a genuinely pluralistic democracy is something that can never be completely fulfilled (if it is to remain pluralistic at all). That is, if everyone were to agree on a given order it would not be pluralistic in the first place; there wouldn’t be any differences. This would culminate in a static situation that could even bring about a totalitarian society. Nevertheless, although its not going to be completely realized, it will always remain as a process that we work towards. Recognizing the contingent nature of any given order also makes it possible not to abandon hope since if there is no final destination, there is no need to despair. Laclau and Mouffe’s ideas about radical democracy as “a project without an end” resonate with the idea of hope: Hope as embracing contingency and uncertainty in our political struggles, without the expectation of specific outcomes or a final destination.

ⓥ culminate in: end with a particular result

In the wake of the Jörg Haider movement in Austria, a right-wing mobilization against the enlargement of the EU to include its Muslim neighbors, Ernesto Laclau and Chantal Mouffe addressed the concept of hope and its relation to passions and politics in a more direct manner¹⁵. They argued that it is imperative to give due credit to the importance of symbols—material and immaterial representations that evoke certain meanings and emotions such as a flag, a song, a style of speaking, etc.— in the construction of human subjectivity L U A and political identities. They proposed the term “passion” to refer to an array of affective forces (such as desires, fantasies, dreams, and aspirations) that can not be reduced to economic self-interest or rational pursuits. One of the most critical shortcomings of the political discourse of the Left has been its assumption that human beings are rational creatures and its lack of understanding the role of passions in the neoliberal imaginary, as Laclau and Mouffe argue. It’s astounding how the Left has been putting the rationality of human beings at the center of arguments against, for instance, racism and xenophobia, without considering the role of passions as motivating forces. For instance, as I’m writing this text, the world is “surprised” by yet another election result –the German elections of September 24, 2017, when the radical right wing AfD entered the parliament as the third largest party. I agree with Mouffe that as long as we keep fighting racism, xenophobia, and nationalism on rationalistic and moralistic grounds, the Left will be facing more of such “surprises.” Instead of focusing on specific social and economic conditions that are at the origin of racist articulations, the Left has been addressing it with a moralistic discourse or with reference to abstract universal principles (i.e. about human rights). Some even use scientific arguments based on evidence to prove that race doesn’t exist; as though people are going to stop being racist once they become aware of this information.

ⓡ Jörg Haider: leader of The Austrian Freedom Party (FPÖ)

ⓡ Europe’s far-right vows to push referendum on Turkey’s EU accession: https://www.dw.com/en/europes-far-right-vows-to-push-referendum-on-turkeys-eu-accession/a-6142752

ⓡ the Freedom Party of Austria (FPÖ) has harvested more than 20 % of the vote by brandishing the spectre of “an invasion” of Turkish migrants who would threaten “the social peace.”, seems FPÖ always has been infriendly https://voxeurop.eu/en/the-turk-austrias-favorite-whipping-boy/

fig.3 Taksim Solidarity: We are going to challenge all of our colors for our future, our children

At the same time, as Laclau and Mouffe contend, hope is also an ingrained part of any social and political struggle. Nonetheless, it can be mobilized in very different and oppositional ways. When the party system of representative democracy fails to provide vehicles to articulate demands and hopes, there will be other affects that are going to be activated, and hopes will be channeled to “alt-right” movements and religious fundamentalisms, Laclau and Mouffe suggest. However, I argue that its not hope what the right-wing mobilizes. Even if it is hope, it is an “anti-social kind of hope” as the historian Ronald Aronson has recently put it¹⁶. I rather think that it is not hope but the human inclination for “illusion O U” that the right-wing exploits. During the Gezi protests in June 2013, I realized it would be a futile effort to appeal to reason to explain Erdoğan supporters what the protests meant for the participants. It was not a “coupt attempt,” or a riot provoked by “foreign spies.” Dialogue is possible if all sides share at least a square millimeter of common ground, but this was far from the case. On June 1, 2013, the Prime Minister and the pro-government media started to circulate a blatant lie, now known as the “Kabataş lie.” Allegedly, a group of topless male Gezi protesters clad in black skinny leather pants attacked a woman in headscarf across the busy Kabataş Port (!) I don’t think even Erdoğan supporters believed it, but what was most troubling is that it did not matter whether it was true or not. The facts were irrelevant: the anti-Gezi camp wanted to believe it. It became imperative for me to revisit the social psychology literature as mere sociological analysis and political interpretations failed to come to terms with the phenomenon. I found out Freud had a concept for it: “illusion.”

ⓥ Alt-right: The alt-right, an abbreviation of alternative right, is a loosely connected far-right, white nationalist movement based in the United States. (according to Wikipedia)

ⓥ riot: behave violently in a public place

ⓞ The right-wing’s fear of embracing the outside makes people become blind and disappointed for future. > but, this fear comes from the illusion (maybe true, maybe not) > + According to Freud, this illusion depends on how we draw it

Although Freud’s concept of “illusion” is mostly about religion, it’s also a useful concept to understand the power of current political rhetoric. In everyday parlance, we understand illusions as optical distortions or false beliefs. Departing from this view, Freud argues illusions are beliefs we adopt because we want them to be true. For Freud illusions can be either true or false; what matters is not their veracity or congruence with reality but their psychological causes¹⁷. Religious beliefs fulfill the deeply entrenched, urgent wishes of human beings. As inherently fragile, vulnerable creatures people hold on to religious beliefs as an antidote to their helplessness¹⁸. Granted our psychological inclination for seeking a source of power for protection, its not surprising that the right-wing discourse stokes feelings of helplessness and fear continuously and strives to infantilize populations, rendering people susceptible to political illusions.¹⁹ As the philosopher of psychology David Livingston Smith asserts, the appeal of Trump²⁰ (and other elected demagogues across the world) as well as the denial that he could win the elections come from this same psychological source, namely, Freud’s concept of illusion²¹. We suffer from an illusion when we believe something is the case just because we wish it to be so. In other words, illusions have right-wing and left-wing variants, and one could say the overblown confidence in the hegemony of reason has been the illusion of the Left.

ⓞ Hegemony and illusion relate for me because hegemony is ideological, meaning that it is invisible. it is an expression of ideology which has been normalised.

ⓞ Illusion in religion in otherness! The author said “Everyone needed Jesus and if they didn’t believe in him, they were deservedly going to eternal torment.”

ⓥ veracity: accurancy

ⓥ congruence: balance

ⓥ infantilize: treat like a child
+

Critical Social Thought, Art, and Hope

As someone who traverses the social sciences and the arts, I observe both fields are practicing a critical way of thinking that exposes the contingent nature of the way things are, and reveal that nothing is inevitable.²² However, at the same time, by focusing only on the darkness of the times—as it has become common practice lately when, for instance, a public symposium on current issues in the contemporary dance field becomes a collective whining session—I wonder if we may be contributing to the aggravation of cynicism that has become symptomatic of our epoch. Are we, perhaps, equating adopting a hopeless position with being intellectually profound as the anthropologist Michael Taussig once remarked?

If critical social thought is to remain committed to the ethos of not only describing and analyzing the world but also contributing to making it a better place, it could be supplemented with studies that underscore how a better world might be already among us. It would require an empirical sensibility—a documentary and ethnographic approach of sorts—that pay attention to the moments when “islands of hope” are established and the social conditions that make their emergence possible.²³ One could pay attention to the overlooked, quiet, and hopeful developments that may help us to carve spaces where the imagination is not colonized by the neoliberal, nationalist, and militarist siege. That is, for a non-cynical social and artistic inquiry, one could explore how communities E A make sense of their experiences and come to terms with trauma and defeat. These developments may not necessarily be present in the art world, but could offer insights to it. Sometimes communities, through mobilizing their self-resources, provide more meaningful interpretations T M O and creative coping strategies M than the art world’s handling of these issues. It is necessary for us to understand how, despite the direst of circumstances, people can still find meaning and purpose in their lives. It is essential to explore these issues not only in a theoretical manner but through an empirical sensibility: by deploying ethnographic modes of research, paying close attention to the life worlds of our contemporaries to explore their intellectual, practical, imaginative, and affective strategies to make lives livable. Correspondingly, one could focus on the therapeutic and redeeming dimensions L of art as equally crucial to its function as social critique. For this, one could pay more attention to the significant role of poeisis - the creative act that affirms our humanity and dignity — ²⁴to rework trauma into symbolic forms.

ⓥ empirical: practical, not theorical

One such endeavor I came across is the storytelling movement I observed in Turkey.²⁵ More and more people have taken up storytelling, and more and more national and international organizations are popping up. The first national storytelling conference took place last May at Yildiz University. I was struck when I went there to understand what was going on. People from all scales of the political spectrum were sitting in sort of an “assembly of fairy tales.” It has also struck me that while some journalists, the “truth tellers” are being imprisoned; imprisoned politicians are turning into storytellers, finding solace in giving form to their experiences through poeisis. Selahattin Demirtaş, the co-chair of the People’s Democratic Party (HDP), penned three short stories while in prison since last November, which, I think are quite successful from a literary point of view. Alongside other essays and additional short stories, Demirtaş’s prison writings culminated in the recent publication Seher (September 2017) ²⁶. The choice of the book’s title is also telling: In Turkish “Seher” means the period just before dawn when the night begins to change into day.

ⓥ endeavor: attempt, effort

In The Human Condition the political philosopher Hannah Arendt addresses the question of how storytelling speaks to the struggle to exist as one among many; preserving one’s unique identity P, while at the same time fulfilling one’s obligations as a citizen in a new home country. Much of she wrote after she went to the US in 1941 as a refugee bears the mark of her experience of displacement and loss. And it’s at this time when she offers invaluable insights into the (almost) universal impulse to translate overwhelming personal and social experiences into forms that can be voiced and reworked in the company of others. It was, perhaps, Walter Benjamin who first detected the demise of the art of storytelling as a symptom of the loss of the value of experience. In his 1936 essay “The Storyteller” he reflects on the role of storytelling in community building and the implications of its decline. He observes that with the emergence of newspapers and the journalistic jargon, people stopped listening to stories but began receiving the news. With the news, any event already comes with some explanation. With the news and our timelines, explanation and commentary replaced assimilating, interpreting, understanding. Connections get lost, leading to a kind of amnesia, which leads, in turn, to pessimism and cynicism, because it also makes us lose track of hopeful moments, struggles, and victories. The power of the story is to survive beyond its moment and to connect the dots, redeeming the past. It pays respect and shows responsibility A to different temporalities and publics, that of the past and the future as well as today’s.

ⓥ demise: end, death

Here, I’m not making a case for going back to narrative forms in performance or a call for storytelling above and beyond any other forms. The emphasis here is more on storytelling as an example of a social act of poeisis rather than the product of narrative activity. The critical question for me today is can artists, curators, and social thinkers bring to life the stories that are waiting to be told? Sometimes, instead of focusing on how to increase visitors to our venues, it could be more rewarding to take our imagination to go visiting. I conclude my reflections on hope with a quote from Arundathi Roy:

“Writers imagine that they cull stories from the world. I’m beginning to believe vanity makes them think so. That its actually the other way around. Stories cull writers from the world. Stories reveal themselves to us. The public narrative, the private narrative—they colonize us. They commission us. They insist on being told.” ²⁷

I leave it to you for now to imagine the shapes it could take.

ⓞ Recovering of the humanity helps to approach to hope > Like by storytelling (especially, the writer mentions it as art), which is warmer and left us to think > Connected to idea of ATATA, let’s refine nature

fig.5 Pandora, Lawrence Alma-Tadema
+
+
+Gurur Ertem + +is a social scientist and performance studies scholar specializing in the sociology of culture and the arts; and the body and social theory. she is the founding co-director of iDANS (Istanbul) where she has been responsible for curatorial research and publications. Being immersed in the contemporary dance culture for (almost) two decades as dancer, dramaturge, programmer, and scholar, she edited several books on the topic such as Dance on Time (2010); Solo? in Contemporary Dance (2008), and Yirminci Yüzyılda Dans Sanatı (2007). Ertem specialized in the sociology of culture and arts; the body and social theory; and critical theory. She obtained her Ph.D. in Sociology from The New School for Social Research (New York) in 2016. Her current research focuses on cultures of protest and the body and political psychology. Ertem is selected as an Akademie Schloss Solitude Fellow in the Humanities for the period 2017-2019. + +References + +Adorno, Theodor W. 1991 [1951]. “Freudian Theory and the Pattern of Fascist Propaganda.” In The Culture Industry, edited by J. M. Bernstein. London: Routledge. + +Ertem, Gurur. 2017. “Gezi Uprising: Performative Democracy and Politics of the Body in an Extended Space of Appearance.” In Media Practices, Social Movements, and Performativity: Transdisciplinary Approaches, edited by Margreth Lünenborg, Susanne Foellmer, Christoph Raetzsch, pp. 81-99. London: Routledge. + +Laclau, Ernesto, and Chantal Mouffe. 2014 (1987). Hegemony and Socialist Strategy: Towards a Radical Democratic Politics. London: Verso. + +Loeb, Paul Rogat. 2014. “The Real Rosa Parks.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press. + +Money-Kyrle, Roger. 1978. “The Psychology of Propaganda,” In The Collected Papers of Roger Money-Kyrle, edited by Strath Tay, 165-66. Perthshire: The Clunie Press. + +Sinclair, Jennifer. 2008. “Towards an Affirmative Sociology: The Role of Hope in Making a Better World.” Paper presented at TASA Sociologists Conference, August 2008. +(https://tasa.org.au/wp-content/uploads/2011/05/Sinclair-Jennifer-Session-84.pdf) + +Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +Footnotes + +[1]: 1,128 academics from 89 universities in Turkey, and over 355 academics and researchers from abroad including some well-known figures such as Noam Chomsky, Judith Butler, Etienne Balibar, and David Harvey signed the petition. For the full text of the declaration and more information about Academics for Peace see the website: (https://barisicinakademisyenler.net/node/63) + +[2]: For excerpts of Erdogan’s speech in reaction to the Academics for Peace Petition see (in Turkish): Merkezi, Haber. "Erdoğan'dan Akademisyenlere: Ey Aydın Müsveddeleri." Bianet - Bagimsiz Iletisim Agi. January 12, 2016. Accessed November 2017.(http://bit.ly/2zkwpdT) + +[3]: ”Notorious criminal threatens academics calling for peace in Turkey's southeast." Hürriyet Daily News. January 13, 2016. Accessed November 2017. (http://bit.ly/2yww6gX) + +[4]: The military coup attempt on July 15, 2016 allowed the government to declare the state of emergency and rule the country by executive degrees, further crushing the opposition M, outlawing associational activities, and the rights of assembly. Hundreds of thousands of academics, public sectors workers, journalists, and teachers were purged. For more information see the website “Turkey Purge,” which is currently inaccessible from Turkey: (https://turkeypurge.com/) + +[5]: HDP is the third largest party in the Turkish Parliament representing some 13% of the electorate. + +[6]: A copy of this bibliography can be found here: (http://www.gururertem.info/syllabi.html) + +[7]: See for instance, the “Trump 101” published by The Chronicle of Higher Education on June 19, 2016. (http://www.chronicle.com/article/Trump-Syllabus/236824/) A group of African American intellectuals criticized the “Trump 101” syllabus for its omission of issues regarding racial and gender equalities and referred to it “as white as the man himself.” Subsequently they published an amended version of the syllabus entitled “Trump 2.0” (http://www.publicbooks.org/trump-syllabus-2-0/) + +[8]: Agamben, Giorgio. 2009. “What is the Contemporary?” In What is an Apparatus?: and Other Essays. Stanford, CA: Stanford University Press. + +[9]: Giroux, Henry A. 2014. The Violence of Organized Forgetting: Thinking Beyond America's Disimagination Machine. San Francisco: City Lights Books. + +[10]: Negativity bias refers to the asymmetrical way we perceive negative experiences versus positive ones, an evolutionary trait we developed for survival. Negative experiences, events, and images exert a stronger and lasting impact on us than positive experiences of the same magnitude. + +[11]: Solnit, Rebecca. 2016. Hope in the Dark: Untold Histories, Wild Possibilities. Chicago, Ill: Haymarket Books. iBook. + +[12]: Zunes, Stephen. 2014. “Arab Revolutions.” In The Impossible Will Take a Little While: Perseverance and Hope in Troubled Times, edited by Paul Rogat Loeb. New York: Basic Books. iBook. + +[13]: One could argue that the creative process and artistic production are not exempt from this instrumental logic that focuses on measurable outcomes. While I agree with this observation, with the “creative process” I use here I mean a more ‘old-fashioned’ understanding of the term. + +[14]: Laclau, Ernesto, and Chantal Mouffe. 2002. “Hope, Passion, Politics.” In Hope: New Philosophies for Change, edited by Mary Zournazi, 122-148. Annandale, NSW: Pluto Press Australia. + +[15]: Ibid. + +[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. + +[17]: Freud, Sigmund. 1964. “The Future of an Illusion,” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. 21, edited by James Stratchey. London: The Hogarth Press and the Institute of Psycho-Analysis. + +[18]: Smith, David Livingstone. 2017. “Confessions of a Cassandra.” Philosophy Talk, January 31, 2017. +(https://www.philosophytalk.org/blog/confessions-cassandra) + +[19]: For an astute empirical analysis of the phenomenon in Nazi speech rallies, see Roger Money-Kyrle’s Psychology of Propaganda (1941). Also see Theodor W. Adorno’s 1951 essay “Freudian Theory and the Pattern of Fascist Propaganda.” + +[20]: Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” + +[21]: Freud, “The Future of Illusion” + +[22]: I’ve discussed elsewhere the similarities of “sociological imagination” (Mills, C.Wright. 2000 [1959]. The Sociological Imagination. Oxford: Oxford University Press.) and institutional critique in the arts. See: Gurur Ertem, “European Dance: The Emergence and Transformation of a Contemporary Dance Art World (1989-2013),” (PhD diss, The New School for Social Research), p.30. + +[23]: Back, Les. 2015. “Blind Optimism and the Sociology of Hope.” DiscoverSociety, December 1, 2015. (http://discoversociety.org/2015/12/01/blind-pessimism-and-the-sociology-of-hope/) + +[24]: See Stephen K. Levine’s Trauma, Tragedy, Therapy: The Arts and Human Suffering for an extended discussion of poeisis with regards to coming to terms to trauma through the creative act. + +[25]: See the transcript of my talk “Field Notes on Instituting” delivered at the Inventory #2 Conference, Tanzhaus nrw Düsseldorf, June 1, 2017. (http://www.gururertem.info/uploads/8/8/7/6/88765342/gurur_ertem_field_notes_on_instituting_inventur_2.pdf) + +[26]: Demirtaş, Selahattin. 2017. Seher. Ankara: Dipnot Yayınları. + +[27]: Roy, Arundhati. 2002. “Come September.” Talk delivered at Lannan Foundation Lecture, Lensic Performing Arts Center, Santa Fe, New Mexico. September 18, 2002. (http://ada.evergreen.edu/~arunc/texts/politics/comeSeptember.pdf) + + + + diff --git a/HOPE/wftfs-Regular.otf b/HOPE/wftfs-Regular.otf new file mode 100644 index 0000000..a1c417d Binary files /dev/null and b/HOPE/wftfs-Regular.otf differ diff --git a/HOPE/zero.html b/HOPE/zero.html new file mode 100644 index 0000000..de20f33 --- /dev/null +++ b/HOPE/zero.html @@ -0,0 +1,234 @@ + + + + + + + + + + + + + +

Zero


by Ogutu Muraya





Zero is zero but what else can it be? + + + + + +Zero is a living word, a word that is self-moving, self-replicating,progressively complicating itself + +Zero is words heavy like prison doors, words stirring, words stinging, words stringing into unapproachable silences + + + + + +Zero is an idea, distant, distinct, distilled, fliting, flirting, fluttering eternal energies of entanglement + +Zero is a mirror of time, time unlimited, time interstellar, time intertwined, time undefined, time geological, + +Zero is nothing and in that nothing something, stories before there were stories to tell, music raising above overwhelming noise + +Zero is a mask that unmasks, a frame that un-frames, a tale that untells, a name that un-names + +Zero is lamentations, ululations, riotous, primal cries suspicious of identity politics and pseudo-liberations + +Zero is rounded, globular, spherical, circular, without a marked beginning or a definite end, uninterrupted continuity + + + + + +Zero lacks directional properties, a compass without a fixed North, it is multi-dimensional, equally sensitive and equally intense + +Zero is singleness of intention, undivided attention, watching the last flicker of life, eager fatalism + +Zero wages life in a time of war, a wave of poisoned joy, intimate whispers of free at last + +Zero is sonic restructuring, sounds of exorcism, echoing and evicting zones of non-being + +Zero smiles, transforms, transitions, transgressing even the iciest ofhearts, subverting coldness + +Zero is fiercely vibrant, improvised, dynamic rhythm, a space of creative ritual + + + + + +Zero is a seeker of silences, retracts and retreats, dwelling in inner world, the under surfaces + +Zero is an alienated earworm, cracked, dogged, dislocated, fractured, fragile music + +Zero is palpable, pulsating, supple, simple, palm wine on a hot and humid day + +Zero is mystical, enigmatic, murmur of immaterial mindfulness nursing illusions of control + +Zero is a beat, the beat, the beat, the beat, the beat, the beat, the beat + +Zero is pure ego, inspiring uneasiness, fidgeting wind eating a dull cigarette + + + + + +Zero is a longing, a yearning, a desire, a need, an itch, an urge for warm, mental, steamy, sexy, soulful, remedial, subversive self-love + +Zero decomposes itself into the earth from which new life bud,sprout and grow + +Zero is the look of silence, what needs to be said has been said, what is not said is said without words, and there is nothing else to say + + + + + + +“Zero” was written by Ogutu Muraya for his solo performance Fractured Memory. Fractured Memory reimagines James Baldwin’s essay ‘Princes and Powers’ which describes in great detail a congress of Afrointellectuals, writers, artists, philosophers and theorists, held at the Sorbonne in Paris in 1956. Central to his research and this performance is a multiplicity of perspectives which includes Baldwin’s essay, historical archive, and personal experience. The piece aims to create an acknowledgement of a shared history and to find a new vocabulary to deal with its uncomfortable truths. Muraya explores the borders between oral and visual narrative in order to create a multidimensional space where the teller and the image form both dialogue and unity. + + + + + + +“Zero generously offers a multiplicity of possibilities. I find it fascinating that zero as a number is neither negative nor positive - in zero duality becomes unity - this is hope for me. In the sense of the performance zero becomes the space and place where it is possible for all to be whole - there are no fractions of zero as number.” - O.M. + + + + + + +Ogutu Muraya + +is a writer and theatre-maker whose work is embedded in the practice of orature. He engages the sociopolitical with the belief that art is an important catalyst for advocacy, for questioning our certainties, and for preserving stories often ‘misstold’ or suppressed in the mainstream. Ogutu studied International Relations at USIU-Africa and recently graduated with a Master in Arts at Amsterdam University of the Arts - DAS Theatre. He has been published in the Kwani? Journal & Chimurenga Chronic. His performative works & storytelling have featured in several theatres and festivals including- La Mama (NYC), The Hay Festival (Wales), HIFA (Harare), NuVo Arts Festival (Kampala), Spoken Wor:l:ds (Berlin), Globe to Globe Festival (London), Ranga Shankara (Bangalore), Afrovibes Festival (Amsterdam), Art in Resistance: Spielart (Munich), and throughout East Africa. He is a recipient of The Eric Brassem Exchange Certificate. +
+ + diff --git a/HOPE/zero2.html b/HOPE/zero2.html new file mode 100644 index 0000000..d6a131e --- /dev/null +++ b/HOPE/zero2.html @@ -0,0 +1,189 @@ + + + + + + + + + + + + + +

Zero


by Ogutu Muraya





Zero is zero but what else can it be? + +
+

Zero is

+

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A Liquid Manifesto

1. Liquid life is an uncertain realm. The concepts needed to realise its potential have not yet existed until now. The hypercomplexity and hyperobject-ness of liquid terrains exceeds our ability to observe or comprehend them in their totality. Indeed, what we typically recognise as living things are by-products of liquid processes.

+ +

2. Liquid life is a worldview. A phantasmagoria of effects>, disobedient substances, evasive strategies, dalliances, skirmishes, flirtations, addictions, quantum phenomena, unexpected twists, sudden turns, furtive exchanges, sly manoeuvres, blind alleys, and exuberant digressions. It can not be reduced into simple ciphers of process, substance, method, or technology. It is more than a set of particular materials that comprise a recognizable body. It is more than vital processes that are shaped according to specific contexts and subjective encounters. Yet we recognise its coherence through the lives ofbeings’, which remain cogent despite incalculable persistent changes such as flows,ambiguities, transitional states and tipping points that bring about radical transformation within physical systems.

+ +

3. Liquid life is a kind ofmetabolic weather’. It is a dynamic substrate - or hyperbody - that permeates the atmosphere, liquid environments, soils and Earth's crust. Metabolic weather refers to complex physical, chemical and even biological outcomes that are provoked when fields of matter at the edge of chaos collide. It is a vector of infection, an expression of recalcitrant materiality and a principle of ecopoiesis, which underpins the process of living, lifelike events - and even life itself. These life forms arise from energy gradients, density currents, katabatic flows, whirlwinds, dust clouds, pollution and the myriad expressions of matter that detail our (earthy, liquid, gaseous) terrains.

+ +

4. Liquid life is immortal. Arising from our unique planetary conditions, its ingredients are continually re-incorporated into active metabolic webs through cycles of life and death. Most deceased liquid matter lies quiescent, patiently waiting for its reanimation through the persistent metabolisms within our soils. + +

5. Liquid life exceeds rhetoric. Its concepts can be embodied and experimentally tested using a trans-disciplinary approach, which draws upon a range of conceptual lenses and techniques to involve the liquid realm with its own voice . From these perspectives liquid technologies emerge that are capable of generating new kinds of artefacts, like Bütschli droplets, which are liquid chemical assemblages capable of surprisingly lifelike behaviours. These agents exceed rhetoric, as they possess their own agency, semiotics, and choreographic impulses, which allow us to value and engage in discourse with them on their terms. The difficulty and slippages in meaning and volition between participating bodies creates the possibility of en evolving poly-vocal dialectics. +

6. Liquid life provokes an expanded notion of consciousness. Itsthinkingis a molecular sea of possibilities that resist the rapid decay towards thermodynamic equilibrium. In these vital moments it indulges every possible tactic to persist, acquiring a rich palette of natural resources, food sources, waste materials, and energy fields. These material alliances necessitate decisions that do not require a coordinating centre, like the brain. + +

7. Liquid are non-bodies. They are without formal boundaries and are constantly changing. + +

8. Liquid bodies are paradoxical structures that possess their own logic. Although classical laws may approximate their behaviour, they can not predict them. They are tangible expressions of nonlinear material systems, which exist outside of the current frames of reference that our global industrial culture is steeped in. Aspects of their existence stray into the unconventional and liminal realms of auras, quantum physics, and ectoplasms. In these realms they can not be appreciated by objective measurement and invite subjective engagement, like poetic trysts. Their diversionary tactics give rise to the very acts of life, such as the capacity to heal, adapt, self-repair, and empathize. + +

9.Liquid bodies are pluri-pontent. They are capable of many acts of transformation. They de-simplify the matter of being a body through their visceral entanglements. While the Bête Machine depends on an abstracted understanding of anatomy founded upon generalizations and ideals, liquid bodies resist these tropes. + +

10. Liquid bodies discuss a mode of existence that is constantly changing not as the cumulative outcomes oferror but as a highly choreographed and continuous spectrum stream of events that arise from the physical interactions of matter. They internalize other bodies as manifolds within their substance and assert their identity through their environmental contexts. Such entanglements invoke marginal relations between multiple agencies and exceed the classical logic of objects. They are inseparable from their context and offer ways of thinking and experimenting with the conventions of making and being embodied. + +

11. Liquid bodies invite us to articulate the fuzziness, paradoxes and uncertainties of the living realm. They are still instantly recognizable and can be named as tornado, cirrus, soil, embryo, or biofilm. These contradictions of form and constancy encourage alternative readings of how we order and sort the world, whose main methodology is through relating one body to another. Indeed, protean liquid bodies help us understand that while universalisms, averages and generalizations are useful in producing maps of our being in the world, they neglect specific details, which bring forth the materiality of the environment. + +

12. Liquid bodies are political agents. They re-define the boundaries and conditions for existence in the context of dynamic, unruly environments. They propose alternative modes of living that are radically transformed, monstrous, coherent, raw - and selectively permeated by their nurturing media. + +

13. Liquid bodies invite us to understand our being beyond relational thinking and invent monsters that defy all existing forms of categorization to make possible a new kind of corporeality. They are what remain when mechanical explanations can no longer account for the experiences that we recognise asbeing alive'. + diff --git a/LIQUID/MANIFESTO/manifesto1.txt b/LIQUID/MANIFESTO/manifesto1.txt new file mode 100644 index 0000000..74b9651 --- /dev/null +++ b/LIQUID/MANIFESTO/manifesto1.txt @@ -0,0 +1,9 @@ +MANIFESTO Liquid life is an uncertain realm. The concepts needed to realise its potential have not yet existed until now. The hypercomplexity and hyperobject-ness of liquid terrains exceeds our ability to observe or comprehend them in their totality. Indeed, what we typically recognise as living things are by-products of liquid processes. + Liquid life is a worldview. A phantasmagoria of effects, disobedient substances, evasive strategies, dalliances, skirmishes, flirtations, addictions, quantum phenomena, unexpected twists, sudden turns, furtive exchanges, sly manoeuvres, blind alleys, and exuberant digressions. It cannot be reduced into simple ciphers of process, substance, method, or technology. It is more than a set of particular materials that comprise a recognizable body. It is more than vital processes that are shaped according to specific contexts and subjective encounters. Yet we recognise its coherence through the lives of ‘beings’, which remain cogent despite incalculable persistent changes such as flows, ambiguities, transitional states and tipping points that bring about radical transformation within physical systems. + Liquid life is a kind of ‘metabolic weather’. It is a dynamic substrate - or hyperbody - that permeates the atmosphere, liquid environments, soils and Earth’s crust. ‘Metabolic weather’ refers to complex physical, chemical and even biological outcomes that are provoked when fields of matter at the edge of chaos collide. It is a vector of infection, an expression of recalcitrant materiality and a principle of ecopoiesis, which underpins the process of living, lifelike events – and even life itself. These life forms arise from energy gradients, density currents, katabatic flows, whirlwinds, dust clouds, pollution and the myriad expressions of matter that detail our (earthy, liquid, gaseous) terrains. + Liquid life is immortal. Arising from our unique planetary conditions, its ingredients are continually re-incorporated into active metabolic webs through cycles of life and death. Most deceased liquid matter lies quiescent, patiently waiting for its reanimation through the persistent metabolisms within our soils. Liquid life exceeds rhetoric. Its concepts can be embodied and experimentally tested using a trans-disciplinary approach, which draws upon a range of conceptual lenses and techniques to involve the liquid realm with its own ‘voice’. From these perspectives liquid technologies emerge that are capable of generating new kinds of artefacts, like Bütschli droplets, which are liquid chemical assemblages capable of surprisingly lifelike behaviours. These agents exceed rhetoric, as they possess their own agency, semiotics, and choreographic impulses, which allow us to value and engage in discourse with them on their terms. The difficulty and slippages in meaning and volition between participating bodies creates the possibility of en evolving poly-vocal dialectics. + Liquid life provokes an expanded notion of consciousness. Its ‘thinking’ is a molecular sea of possibilities that resist the rapid decay towards thermodynamic equilibrium. In these vital moments it indulges every possible tactic to persist, acquiring a rich palette of natural resources, food sources, waste materials, and energy fields. These material alliances necessitate decisions that do not require a coordinating centre, like the brain. Liquid are non-bodies. They are without formal boundaries and are constantly changing. + Liquid bodies are paradoxical structures that possess their own logic. Although classical laws may approximate their behaviour, they cannot predict them. They are tangible expressions of nonlinear material systems, which exist outside of the current frames of reference that our global industrial culture is steeped in. Aspects of their existence stray into the unconventional and liminal realms of auras, quantum physics, and ectoplasms. In these realms they cannot be appreciated by objective measurement and invite subjective engagement, like poetic trysts. Their diversionary tactics give rise to the very acts of life, such as the capacity to heal, adapt, self-repair, and empathize. + Liquid bodies are pluri-pontent. They are capable of many acts of transformation. They de-simplify the matter of being a body through their visceral entanglements. While the Bête Machine depends on an abstracted understanding of anatomy founded upon generalizations and ideals, liquid bodies resist these tropes. Liquid bodies discuss a mode of existence that is constantly changing – not as the cumulative outcomes of ‘error’ – but as a highly choreographed and continuous spectrum stream of events that arise from the physical interactions of matter. They internalize other bodies as manifolds within their substance and assert their identity through their environmental contexts. Such entanglements invoke marginal relations between multiple agencies and exceed the classical logic of objects. They are inseparable from their context and offer ways of thinking and experimenting with the conventions of making and being embodied. + Liquid bodies invite us to articulate the fuzziness, paradoxes and uncertainties of the living realm. They are still instantly recognizable and can be named as tornado, cirrus, soil, embryo, or biofilm. These contradictions – of form and constancy – encourage alternative readings of how we order and sort the world, whose main methodology is through relating one body to another. Indeed, protean liquid bodies help us understand that while universalisms, averages and generalizations are useful in producing maps of our being in the world, they neglect specific details, which ‘bring forth’ the materiality of the environment. Liquid bodies are political agents. They re-define the boundaries and conditions for existence in the context of dynamic, unruly environments. They propose alternative modes of living that are radically transformed, monstrous, coherent, raw – and selectively permeated by their nurturing media. + Liquid bodies invite us to understand our being beyond relational thinking and invent monsters that defy all existing forms of categorization to make possible a new kind of corporeality. They are what remain when mechanical explanations can no longer account for the experiences that we recognise as ‘being alive.’ \ No newline at end of file diff --git a/LIQUID/MANIFESTO/manifestonltk.ipynb b/LIQUID/MANIFESTO/manifestonltk.ipynb new file mode 100644 index 0000000..e81de31 --- /dev/null +++ b/LIQUID/MANIFESTO/manifestonltk.ipynb @@ -0,0 +1,205 @@ +{ + "cells": [ + { + "cell_type": "code", + "execution_count": 2, + "metadata": {}, + "outputs": [], + "source": [ + "import nltk" + ] + }, + { + "cell_type": "code", + "execution_count": 3, + "metadata": {}, + "outputs": [], + "source": [ + "txt = open('manifesto1.txt').read()" + ] + }, + { + "cell_type": "code", + "execution_count": 4, + "metadata": { + "collapsed": true, + "jupyter": { + "outputs_hidden": true + } + }, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['MANIFESTO', 'Liquid', 'life', 'is', 'an', 'uncertain', 'realm', '.', 'The', 'concepts', 'needed', 'to', 'realise', 'its', 'potential', 'have', 'not', 'yet', 'existed', 'until', 'now', '.', 'The', 'hypercomplexity', 'and', 'hyperobject-ness', 'of', 'liquid', 'terrains', 'exceeds', 'our', 'ability', 'to', 'observe', 'or', 'comprehend', 'them', 'in', 'their', 'totality', '.', 'Indeed', ',', 'what', 'we', 'typically', 'recognise', 'as', 'living', 'things', 'are', 'by-products', 'of', 'liquid', 'processes', '.', 'Liquid', 'life', 'is', 'a', 'worldview', '.', 'A', 'phantasmagoria', 'of', 'effects', ',', 'disobedient', 'substances', ',', 'evasive', 'strategies', ',', 'dalliances', ',', 'skirmishes', ',', 'flirtations', ',', 'addictions', ',', 'quantum', 'phenomena', ',', 'unexpected', 'twists', ',', 'sudden', 'turns', ',', 'furtive', 'exchanges', ',', 'sly', 'manoeuvres', ',', 'blind', 'alleys', ',', 'and', 'exuberant', 'digressions', '.', 'It', 'can', 'not', 'be', 'reduced', 'into', 'simple', 'ciphers', 'of', 'process', ',', 'substance', ',', 'method', ',', 'or', 'technology', '.', 'It', 'is', 'more', 'than', 'a', 'set', 'of', 'particular', 'materials', 'that', 'comprise', 'a', 'recognizable', 'body', '.', 'It', 'is', 'more', 'than', 'vital', 'processes', 'that', 'are', 'shaped', 'according', 'to', 'specific', 'contexts', 'and', 'subjective', 'encounters', '.', 'Yet', 'we', 'recognise', 'its', 'coherence', 'through', 'the', 'lives', 'of', '‘', 'beings', '’', ',', 'which', 'remain', 'cogent', 'despite', 'incalculable', 'persistent', 'changes', 'such', 'as', 'flows', ',', 'ambiguities', ',', 'transitional', 'states', 'and', 'tipping', 'points', 'that', 'bring', 'about', 'radical', 'transformation', 'within', 'physical', 'systems', '.', 'Liquid', 'life', 'is', 'a', 'kind', 'of', '‘', 'metabolic', 'weather', '’', '.', 'It', 'is', 'a', 'dynamic', 'substrate', '-', 'or', 'hyperbody', '-', 'that', 'permeates', 'the', 'atmosphere', ',', 'liquid', 'environments', ',', 'soils', 'and', 'Earth', '’', 's', 'crust', '.', '‘', 'Metabolic', 'weather', '’', 'refers', 'to', 'complex', 'physical', ',', 'chemical', 'and', 'even', 'biological', 'outcomes', 'that', 'are', 'provoked', 'when', 'fields', 'of', 'matter', 'at', 'the', 'edge', 'of', 'chaos', 'collide', '.', 'It', 'is', 'a', 'vector', 'of', 'infection', ',', 'an', 'expression', 'of', 'recalcitrant', 'materiality', 'and', 'a', 'principle', 'of', 'ecopoiesis', ',', 'which', 'underpins', 'the', 'process', 'of', 'living', ',', 'lifelike', 'events', '–', 'and', 'even', 'life', 'itself', '.', 'These', 'life', 'forms', 'arise', 'from', 'energy', 'gradients', ',', 'density', 'currents', ',', 'katabatic', 'flows', ',', 'whirlwinds', ',', 'dust', 'clouds', ',', 'pollution', 'and', 'the', 'myriad', 'expressions', 'of', 'matter', 'that', 'detail', 'our', '(', 'earthy', ',', 'liquid', ',', 'gaseous', ')', 'terrains', '.', 'Liquid', 'life', 'is', 'immortal', '.', 'Arising', 'from', 'our', 'unique', 'planetary', 'conditions', ',', 'its', 'ingredients', 'are', 'continually', 're-incorporated', 'into', 'active', 'metabolic', 'webs', 'through', 'cycles', 'of', 'life', 'and', 'death', '.', 'Most', 'deceased', 'liquid', 'matter', 'lies', 'quiescent', ',', 'patiently', 'waiting', 'for', 'its', 'reanimation', 'through', 'the', 'persistent', 'metabolisms', 'within', 'our', 'soils', '.', 'Liquid', 'life', 'exceeds', 'rhetoric', '.', 'Its', 'concepts', 'can', 'be', 'embodied', 'and', 'experimentally', 'tested', 'using', 'a', 'trans-disciplinary', 'approach', ',', 'which', 'draws', 'upon', 'a', 'range', 'of', 'conceptual', 'lenses', 'and', 'techniques', 'to', 'involve', 'the', 'liquid', 'realm', 'with', 'its', 'own', '‘', 'voice', '’', '.', 'From', 'these', 'perspectives', 'liquid', 'technologies', 'emerge', 'that', 'are', 'capable', 'of', 'generating', 'new', 'kinds', 'of', 'artefacts', ',', 'like', 'Bütschli', 'droplets', ',', 'which', 'are', 'liquid', 'chemical', 'assemblages', 'capable', 'of', 'surprisingly', 'lifelike', 'behaviours', '.', 'These', 'agents', 'exceed', 'rhetoric', ',', 'as', 'they', 'possess', 'their', 'own', 'agency', ',', 'semiotics', ',', 'and', 'choreographic', 'impulses', ',', 'which', 'allow', 'us', 'to', 'value', 'and', 'engage', 'in', 'discourse', 'with', 'them', 'on', 'their', 'terms', '.', 'The', 'difficulty', 'and', 'slippages', 'in', 'meaning', 'and', 'volition', 'between', 'participating', 'bodies', 'creates', 'the', 'possibility', 'of', 'en', 'evolving', 'poly-vocal', 'dialectics', '.', 'Liquid', 'life', 'provokes', 'an', 'expanded', 'notion', 'of', 'consciousness', '.', 'Its', '‘', 'thinking', '’', 'is', 'a', 'molecular', 'sea', 'of', 'possibilities', 'that', 'resist', 'the', 'rapid', 'decay', 'towards', 'thermodynamic', 'equilibrium', '.', 'In', 'these', 'vital', 'moments', 'it', 'indulges', 'every', 'possible', 'tactic', 'to', 'persist', ',', 'acquiring', 'a', 'rich', 'palette', 'of', 'natural', 'resources', ',', 'food', 'sources', ',', 'waste', 'materials', ',', 'and', 'energy', 'fields', '.', 'These', 'material', 'alliances', 'necessitate', 'decisions', 'that', 'do', 'not', 'require', 'a', 'coordinating', 'centre', ',', 'like', 'the', 'brain', '.', 'Liquid', 'are', 'non-bodies', '.', 'They', 'are', 'without', 'formal', 'boundaries', 'and', 'are', 'constantly', 'changing', '.', 'Liquid', 'bodies', 'are', 'paradoxical', 'structures', 'that', 'possess', 'their', 'own', 'logic', '.', 'Although', 'classical', 'laws', 'may', 'approximate', 'their', 'behaviour', ',', 'they', 'can', 'not', 'predict', 'them', '.', 'They', 'are', 'tangible', 'expressions', 'of', 'nonlinear', 'material', 'systems', ',', 'which', 'exist', 'outside', 'of', 'the', 'current', 'frames', 'of', 'reference', 'that', 'our', 'global', 'industrial', 'culture', 'is', 'steeped', 'in', '.', 'Aspects', 'of', 'their', 'existence', 'stray', 'into', 'the', 'unconventional', 'and', 'liminal', 'realms', 'of', 'auras', ',', 'quantum', 'physics', ',', 'and', 'ectoplasms', '.', 'In', 'these', 'realms', 'they', 'can', 'not', 'be', 'appreciated', 'by', 'objective', 'measurement', 'and', 'invite', 'subjective', 'engagement', ',', 'like', 'poetic', 'trysts', '.', 'Their', 'diversionary', 'tactics', 'give', 'rise', 'to', 'the', 'very', 'acts', 'of', 'life', ',', 'such', 'as', 'the', 'capacity', 'to', 'heal', ',', 'adapt', ',', 'self-repair', ',', 'and', 'empathize', '.', 'Liquid', 'bodies', 'are', 'pluri-pontent', '.', 'They', 'are', 'capable', 'of', 'many', 'acts', 'of', 'transformation', '.', 'They', 'de-simplify', 'the', 'matter', 'of', 'being', 'a', 'body', 'through', 'their', 'visceral', 'entanglements', '.', 'While', 'the', 'Bête', 'Machine', 'depends', 'on', 'an', 'abstracted', 'understanding', 'of', 'anatomy', 'founded', 'upon', 'generalizations', 'and', 'ideals', ',', 'liquid', 'bodies', 'resist', 'these', 'tropes', '.', 'Liquid', 'bodies', 'discuss', 'a', 'mode', 'of', 'existence', 'that', 'is', 'constantly', 'changing', '–', 'not', 'as', 'the', 'cumulative', 'outcomes', 'of', '‘', 'error', '’', '–', 'but', 'as', 'a', 'highly', 'choreographed', 'and', 'continuous', 'spectrum', 'stream', 'of', 'events', 'that', 'arise', 'from', 'the', 'physical', 'interactions', 'of', 'matter', '.', 'They', 'internalize', 'other', 'bodies', 'as', 'manifolds', 'within', 'their', 'substance', 'and', 'assert', 'their', 'identity', 'through', 'their', 'environmental', 'contexts', '.', 'Such', 'entanglements', 'invoke', 'marginal', 'relations', 'between', 'multiple', 'agencies', 'and', 'exceed', 'the', 'classical', 'logic', 'of', 'objects', '.', 'They', 'are', 'inseparable', 'from', 'their', 'context', 'and', 'offer', 'ways', 'of', 'thinking', 'and', 'experimenting', 'with', 'the', 'conventions', 'of', 'making', 'and', 'being', 'embodied', '.', 'Liquid', 'bodies', 'invite', 'us', 'to', 'articulate', 'the', 'fuzziness', ',', 'paradoxes', 'and', 'uncertainties', 'of', 'the', 'living', 'realm', '.', 'They', 'are', 'still', 'instantly', 'recognizable', 'and', 'can', 'be', 'named', 'as', 'tornado', ',', 'cirrus', ',', 'soil', ',', 'embryo', ',', 'or', 'biofilm', '.', 'These', 'contradictions', '–', 'of', 'form', 'and', 'constancy', '–', 'encourage', 'alternative', 'readings', 'of', 'how', 'we', 'order', 'and', 'sort', 'the', 'world', ',', 'whose', 'main', 'methodology', 'is', 'through', 'relating', 'one', 'body', 'to', 'another', '.', 'Indeed', ',', 'protean', 'liquid', 'bodies', 'help', 'us', 'understand', 'that', 'while', 'universalisms', ',', 'averages', 'and', 'generalizations', 'are', 'useful', 'in', 'producing', 'maps', 'of', 'our', 'being', 'in', 'the', 'world', ',', 'they', 'neglect', 'specific', 'details', ',', 'which', '‘', 'bring', 'forth', '’', 'the', 'materiality', 'of', 'the', 'environment', '.', 'Liquid', 'bodies', 'are', 'political', 'agents', '.', 'They', 're-define', 'the', 'boundaries', 'and', 'conditions', 'for', 'existence', 'in', 'the', 'context', 'of', 'dynamic', ',', 'unruly', 'environments', '.', 'They', 'propose', 'alternative', 'modes', 'of', 'living', 'that', 'are', 'radically', 'transformed', ',', 'monstrous', ',', 'coherent', ',', 'raw', '–', 'and', 'selectively', 'permeated', 'by', 'their', 'nurturing', 'media', '.', 'Liquid', 'bodies', 'invite', 'us', 'to', 'understand', 'our', 'being', 'beyond', 'relational', 'thinking', 'and', 'invent', 'monsters', 'that', 'defy', 'all', 'existing', 'forms', 'of', 'categorization', 'to', 'make', 'possible', 'a', 'new', 'kind', 'of', 'corporeality', '.', 'They', 'are', 'what', 'remain', 'when', 'mechanical', 'explanations', 'can', 'no', 'longer', 'account', 'for', 'the', 'experiences', 'that', 'we', 'recognise', 'as', '‘', 'being', 'alive', '.', '’']\n" + ] + } + ], + "source": [ + "tokens = nltk.word_tokenize(txt)\n", + "print(tokens)" + ] + }, + { + "cell_type": "code", + "execution_count": 8, + "metadata": {}, + "outputs": [], + "source": [ + "text = nltk.Text(tokens)" + ] + }, + { + "cell_type": "code", + "execution_count": 9, + "metadata": { + "collapsed": true, + "jupyter": { + "outputs_hidden": true + } + }, + "outputs": [ + { + "name": "stdout", + 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('to', 'TO'), ('involve', 'VB'), ('the', 'DT'), ('liquid', 'JJ'), ('realm', 'NN'), ('with', 'IN'), ('its', 'PRP$'), ('own', 'JJ'), ('‘', 'JJ'), ('voice', 'NN'), ('’', 'NNS'), ('.', '.'), ('From', 'IN'), ('these', 'DT'), ('perspectives', 'NNS'), ('liquid', 'VBP'), ('technologies', 'NNS'), ('emerge', 'VBP'), ('that', 'WDT'), ('are', 'VBP'), ('capable', 'JJ'), ('of', 'IN'), ('generating', 'VBG'), ('new', 'JJ'), ('kinds', 'NNS'), ('of', 'IN'), ('artefacts', 'NNS'), (',', ','), ('like', 'IN'), ('Bütschli', 'NNP'), ('droplets', 'NNS'), (',', ','), ('which', 'WDT'), ('are', 'VBP'), ('liquid', 'JJ'), ('chemical', 'NN'), ('assemblages', 'NNS'), ('capable', 'JJ'), ('of', 'IN'), ('surprisingly', 'RB'), ('lifelike', 'JJ'), ('behaviours', 'NNS'), ('.', '.'), ('These', 'DT'), ('agents', 'NNS'), ('exceed', 'VBP'), ('rhetoric', 'NN'), (',', ','), ('as', 'IN'), ('they', 'PRP'), ('possess', 'VBP'), ('their', 'PRP$'), ('own', 'JJ'), ('agency', 'NN'), (',', ','), ('semiotics', 'NNS'), (',', ','), ('and', 'CC'), ('choreographic', 'JJ'), ('impulses', 'NNS'), (',', ','), ('which', 'WDT'), ('allow', 'VBP'), ('us', 'PRP'), ('to', 'TO'), ('value', 'NN'), ('and', 'CC'), ('engage', 'VB'), ('in', 'IN'), ('discourse', 'NN'), ('with', 'IN'), ('them', 'PRP'), ('on', 'IN'), ('their', 'PRP$'), ('terms', 'NNS'), ('.', '.'), ('The', 'DT'), ('difficulty', 'NN'), ('and', 'CC'), ('slippages', 'NNS'), ('in', 'IN'), ('meaning', 'NN'), ('and', 'CC'), ('volition', 'NN'), ('between', 'IN'), ('participating', 'VBG'), ('bodies', 'NNS'), ('creates', 'VBZ'), ('the', 'DT'), ('possibility', 'NN'), ('of', 'IN'), ('en', 'JJ'), ('evolving', 'VBG'), ('poly-vocal', 'JJ'), ('dialectics', 'NNS'), ('.', '.'), ('Liquid', 'NNP'), ('life', 'NN'), ('provokes', 'NNS'), ('an', 'DT'), ('expanded', 'JJ'), ('notion', 'NN'), ('of', 'IN'), ('consciousness', 'NN'), ('.', '.'), ('Its', 'PRP$'), ('‘', 'JJ'), ('thinking', 'NN'), ('’', 'NN'), ('is', 'VBZ'), ('a', 'DT'), ('molecular', 'JJ'), ('sea', 'NN'), ('of', 'IN'), ('possibilities', 'NNS'), ('that', 'WDT'), ('resist', 'VBP'), ('the', 'DT'), ('rapid', 'JJ'), ('decay', 'NN'), ('towards', 'NNS'), ('thermodynamic', 'JJ'), ('equilibrium', 'NN'), ('.', '.'), ('In', 'IN'), ('these', 'DT'), ('vital', 'JJ'), ('moments', 'NNS'), ('it', 'PRP'), ('indulges', 'VBZ'), ('every', 'DT'), ('possible', 'JJ'), ('tactic', 'NN'), ('to', 'TO'), ('persist', 'VB'), (',', ','), ('acquiring', 'VBG'), ('a', 'DT'), ('rich', 'JJ'), ('palette', 'NN'), ('of', 'IN'), ('natural', 'JJ'), ('resources', 'NNS'), (',', ','), ('food', 'NN'), ('sources', 'NNS'), (',', ','), ('waste', 'NN'), ('materials', 'NNS'), (',', ','), ('and', 'CC'), ('energy', 'NN'), ('fields', 'NNS'), ('.', '.'), ('These', 'DT'), ('material', 'JJ'), ('alliances', 'NNS'), ('necessitate', 'VBP'), ('decisions', 'NNS'), ('that', 'WDT'), ('do', 'VBP'), ('not', 'RB'), ('require', 'VB'), ('a', 'DT'), ('coordinating', 'NN'), ('centre', 'NN'), (',', ','), ('like', 'IN'), ('the', 'DT'), ('brain', 'NN'), ('.', '.'), ('Liquid', 'NNP'), ('are', 'VBP'), ('non-bodies', 'NNS'), ('.', '.'), ('They', 'PRP'), ('are', 'VBP'), ('without', 'IN'), ('formal', 'JJ'), ('boundaries', 'NNS'), ('and', 'CC'), ('are', 'VBP'), ('constantly', 'RB'), ('changing', 'VBG'), ('.', '.'), ('Liquid', 'JJ'), ('bodies', 'NNS'), ('are', 'VBP'), ('paradoxical', 'JJ'), ('structures', 'NNS'), ('that', 'WDT'), ('possess', 'VBP'), ('their', 'PRP$'), ('own', 'JJ'), ('logic', 'NN'), ('.', '.'), ('Although', 'IN'), ('classical', 'JJ'), ('laws', 'NNS'), ('may', 'MD'), ('approximate', 'VB'), ('their', 'PRP$'), ('behaviour', 'NN'), (',', ','), ('they', 'PRP'), ('can', 'MD'), ('not', 'RB'), ('predict', 'VB'), ('them', 'PRP'), ('.', '.'), ('They', 'PRP'), ('are', 'VBP'), ('tangible', 'JJ'), ('expressions', 'NNS'), ('of', 'IN'), ('nonlinear', 'JJ'), ('material', 'NN'), ('systems', 'NNS'), (',', ','), ('which', 'WDT'), ('exist', 'VBP'), ('outside', 'IN'), ('of', 'IN'), ('the', 'DT'), ('current', 'JJ'), ('frames', 'NNS'), ('of', 'IN'), ('reference', 'NN'), ('that', 'IN'), ('our', 'PRP$'), ('global', 'JJ'), ('industrial', 'JJ'), ('culture', 'NN'), ('is', 'VBZ'), ('steeped', 'VBN'), ('in', 'IN'), ('.', '.'), ('Aspects', 'NNS'), ('of', 'IN'), ('their', 'PRP$'), ('existence', 'NN'), ('stray', 'NN'), ('into', 'IN'), ('the', 'DT'), ('unconventional', 'JJ'), ('and', 'CC'), ('liminal', 'JJ'), ('realms', 'NN'), ('of', 'IN'), ('auras', 'NNS'), (',', ','), ('quantum', 'NN'), ('physics', 'NNS'), (',', ','), ('and', 'CC'), ('ectoplasms', 'NNS'), ('.', '.'), ('In', 'IN'), ('these', 'DT'), ('realms', 'NNS'), ('they', 'PRP'), ('can', 'MD'), ('not', 'RB'), ('be', 'VB'), ('appreciated', 'VBN'), ('by', 'IN'), ('objective', 'JJ'), ('measurement', 'NN'), ('and', 'CC'), ('invite', 'JJ'), ('subjective', 'JJ'), ('engagement', 'NN'), (',', ','), ('like', 'IN'), ('poetic', 'JJ'), ('trysts', 'NNS'), ('.', '.'), ('Their', 'PRP$'), ('diversionary', 'JJ'), ('tactics', 'NNS'), ('give', 'VBP'), ('rise', 'NN'), ('to', 'TO'), ('the', 'DT'), ('very', 'RB'), ('acts', 'VBZ'), ('of', 'IN'), ('life', 'NN'), (',', ','), ('such', 'JJ'), ('as', 'IN'), ('the', 'DT'), ('capacity', 'NN'), ('to', 'TO'), ('heal', 'VB'), (',', ','), ('adapt', 'VB'), (',', ','), ('self-repair', 'NN'), (',', ','), ('and', 'CC'), ('empathize', 'VB'), ('.', '.'), ('Liquid', 'NNP'), ('bodies', 'NNS'), ('are', 'VBP'), ('pluri-pontent', 'JJ'), ('.', '.'), ('They', 'PRP'), ('are', 'VBP'), ('capable', 'JJ'), ('of', 'IN'), ('many', 'JJ'), ('acts', 'NNS'), ('of', 'IN'), ('transformation', 'NN'), ('.', '.'), ('They', 'PRP'), ('de-simplify', 'VBP'), ('the', 'DT'), ('matter', 'NN'), ('of', 'IN'), ('being', 'VBG'), ('a', 'DT'), ('body', 'NN'), ('through', 'IN'), ('their', 'PRP$'), ('visceral', 'JJ'), ('entanglements', 'NNS'), ('.', '.'), ('While', 'IN'), ('the', 'DT'), ('Bête', 'NNP'), ('Machine', 'NNP'), ('depends', 'VBZ'), ('on', 'IN'), ('an', 'DT'), ('abstracted', 'JJ'), ('understanding', 'NN'), ('of', 'IN'), ('anatomy', 'NN'), ('founded', 'VBN'), ('upon', 'IN'), ('generalizations', 'NNS'), ('and', 'CC'), ('ideals', 'NNS'), (',', ','), ('liquid', 'JJ'), ('bodies', 'NNS'), ('resist', 'VBP'), ('these', 'DT'), ('tropes', 'NNS'), ('.', '.'), ('Liquid', 'NNP'), ('bodies', 'VBZ'), ('discuss', 'VBZ'), ('a', 'DT'), ('mode', 'NN'), ('of', 'IN'), ('existence', 'NN'), ('that', 'WDT'), ('is', 'VBZ'), ('constantly', 'RB'), ('changing', 'VBG'), ('–', 'RB'), ('not', 'RB'), ('as', 'IN'), ('the', 'DT'), ('cumulative', 'JJ'), ('outcomes', 'NNS'), ('of', 'IN'), ('‘', 'NNP'), ('error', 'NN'), ('’', 'NNP'), ('–', 'NNP'), ('but', 'CC'), ('as', 'IN'), ('a', 'DT'), ('highly', 'RB'), ('choreographed', 'VBN'), ('and', 'CC'), ('continuous', 'JJ'), ('spectrum', 'NN'), ('stream', 'NN'), ('of', 'IN'), ('events', 'NNS'), ('that', 'WDT'), ('arise', 'VBP'), ('from', 'IN'), ('the', 'DT'), ('physical', 'JJ'), ('interactions', 'NNS'), ('of', 'IN'), ('matter', 'NN'), ('.', '.'), ('They', 'PRP'), ('internalize', 'VBP'), ('other', 'JJ'), ('bodies', 'NNS'), ('as', 'IN'), ('manifolds', 'NNS'), ('within', 'IN'), ('their', 'PRP$'), ('substance', 'NN'), ('and', 'CC'), ('assert', 'VB'), ('their', 'PRP$'), ('identity', 'NN'), ('through', 'IN'), ('their', 'PRP$'), ('environmental', 'JJ'), ('contexts', 'NN'), ('.', '.'), ('Such', 'JJ'), ('entanglements', 'NNS'), ('invoke', 'VBD'), ('marginal', 'JJ'), ('relations', 'NNS'), ('between', 'IN'), ('multiple', 'JJ'), ('agencies', 'NNS'), ('and', 'CC'), ('exceed', 'VBP'), ('the', 'DT'), ('classical', 'JJ'), ('logic', 'NN'), ('of', 'IN'), ('objects', 'NNS'), ('.', '.'), ('They', 'PRP'), ('are', 'VBP'), ('inseparable', 'JJ'), ('from', 'IN'), ('their', 'PRP$'), ('context', 'NN'), ('and', 'CC'), ('offer', 'VBP'), ('ways', 'NNS'), ('of', 'IN'), ('thinking', 'NN'), ('and', 'CC'), ('experimenting', 'VBG'), ('with', 'IN'), ('the', 'DT'), ('conventions', 'NNS'), ('of', 'IN'), ('making', 'VBG'), ('and', 'CC'), ('being', 'VBG'), ('embodied', 'VBN'), ('.', '.'), ('Liquid', 'NNP'), ('bodies', 'VBZ'), ('invite', 'VBP'), ('us', 'PRP'), ('to', 'TO'), ('articulate', 'VB'), ('the', 'DT'), ('fuzziness', 'NN'), (',', ','), ('paradoxes', 'NNS'), ('and', 'CC'), ('uncertainties', 'NNS'), ('of', 'IN'), ('the', 'DT'), ('living', 'NN'), ('realm', 'NN'), ('.', '.'), ('They', 'PRP'), ('are', 'VBP'), ('still', 'RB'), ('instantly', 'RB'), ('recognizable', 'JJ'), ('and', 'CC'), ('can', 'MD'), ('be', 'VB'), ('named', 'VBN'), ('as', 'IN'), ('tornado', 'NN'), (',', ','), ('cirrus', 'NN'), (',', ','), ('soil', 'NN'), (',', ','), ('embryo', 'NN'), (',', ','), ('or', 'CC'), ('biofilm', 'NN'), ('.', '.'), ('These', 'DT'), ('contradictions', 'NNS'), ('–', 'VBP'), ('of', 'IN'), ('form', 'NN'), ('and', 'CC'), ('constancy', 'NN'), ('–', 'NNP'), ('encourage', 'NN'), ('alternative', 'JJ'), ('readings', 'NNS'), ('of', 'IN'), ('how', 'WRB'), ('we', 'PRP'), ('order', 'NN'), ('and', 'CC'), ('sort', 'VB'), ('the', 'DT'), ('world', 'NN'), (',', ','), ('whose', 'WP$'), ('main', 'JJ'), ('methodology', 'NN'), ('is', 'VBZ'), ('through', 'IN'), ('relating', 'VBG'), ('one', 'CD'), ('body', 'NN'), ('to', 'TO'), ('another', 'DT'), ('.', '.'), ('Indeed', 'RB'), (',', ','), ('protean', 'JJ'), ('liquid', 'NN'), ('bodies', 'NNS'), ('help', 'VBP'), ('us', 'PRP'), ('understand', 'VBP'), ('that', 'IN'), ('while', 'IN'), ('universalisms', 'JJ'), (',', ','), ('averages', 'NNS'), ('and', 'CC'), ('generalizations', 'NNS'), ('are', 'VBP'), ('useful', 'JJ'), ('in', 'IN'), ('producing', 'VBG'), ('maps', 'NNS'), ('of', 'IN'), ('our', 'PRP$'), ('being', 'VBG'), ('in', 'IN'), ('the', 'DT'), ('world', 'NN'), (',', ','), ('they', 'PRP'), ('neglect', 'VBP'), ('specific', 'JJ'), ('details', 'NNS'), (',', ','), ('which', 'WDT'), ('‘', 'VBP'), ('bring', 'VBG'), ('forth', 'NN'), ('’', 'VBD'), ('the', 'DT'), ('materiality', 'NN'), ('of', 'IN'), ('the', 'DT'), ('environment', 'NN'), ('.', '.'), ('Liquid', 'NNP'), ('bodies', 'NNS'), ('are', 'VBP'), ('political', 'JJ'), ('agents', 'NNS'), ('.', '.'), ('They', 'PRP'), ('re-define', 'VBP'), ('the', 'DT'), ('boundaries', 'NNS'), ('and', 'CC'), ('conditions', 'NNS'), ('for', 'IN'), ('existence', 'NN'), ('in', 'IN'), ('the', 'DT'), ('context', 'NN'), ('of', 'IN'), ('dynamic', 'JJ'), (',', ','), ('unruly', 'JJ'), ('environments', 'NNS'), ('.', '.'), ('They', 'PRP'), ('propose', 'VBP'), ('alternative', 'JJ'), ('modes', 'NNS'), ('of', 'IN'), ('living', 'NN'), ('that', 'WDT'), ('are', 'VBP'), ('radically', 'RB'), ('transformed', 'VBN'), (',', ','), ('monstrous', 'JJ'), (',', ','), ('coherent', 'NN'), (',', ','), ('raw', 'JJ'), ('–', 'NN'), ('and', 'CC'), ('selectively', 'RB'), ('permeated', 'VBN'), ('by', 'IN'), ('their', 'PRP$'), ('nurturing', 'JJ'), ('media', 'NNS'), ('.', '.'), ('Liquid', 'NNP'), ('bodies', 'VBZ'), ('invite', 'VBP'), ('us', 'PRP'), ('to', 'TO'), ('understand', 'VB'), ('our', 'PRP$'), ('being', 'VBG'), ('beyond', 'IN'), ('relational', 'JJ'), ('thinking', 'NN'), ('and', 'CC'), ('invent', 'NN'), ('monsters', 'NNS'), ('that', 'WDT'), ('defy', 'VBP'), ('all', 'DT'), ('existing', 'VBG'), ('forms', 'NNS'), ('of', 'IN'), ('categorization', 'NN'), ('to', 'TO'), ('make', 'VB'), ('possible', 'JJ'), ('a', 'DT'), ('new', 'JJ'), ('kind', 'NN'), ('of', 'IN'), ('corporeality', 'NN'), ('.', '.'), ('They', 'PRP'), ('are', 'VBP'), ('what', 'WP'), ('remain', 'VBP'), ('when', 'WRB'), ('mechanical', 'JJ'), ('explanations', 'NNS'), ('can', 'MD'), ('no', 'RB'), ('longer', 'RBR'), ('account', 'NN'), ('for', 'IN'), ('the', 'DT'), ('experiences', 'NNS'), ('that', 'IN'), ('we', 'PRP'), ('recognise', 'VBP'), ('as', 'IN'), ('‘', 'NN'), ('being', 'VBG'), ('alive', 'JJ'), ('.', '.'), ('’', 'NN')]\n" + ] + } + ], + "source": [ + "tagged = nltk.pos_tag(tokens)\n", + "print(tagged)" + ] + }, + { + "cell_type": "code", + "execution_count": 10, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['is', 'exceeds', 'is', 'is', 'is', 'is', 'is', 'permeates', 'is', 'underpins', 'detail', 'is', 'lies', 'exceeds', 'draws', 'creates', 'is', 'indulges', 'is', 'acts', 'depends', 'bodies', 'discuss', 'is', 'bodies', 'is', 'bodies']\n" + ] + } + ], + "source": [ + "selection = []\n", + "\n", + "for word, tag in tagged:\n", + " if 'VBZ' in tag:\n", + " selection.append(word)\n", + "\n", + "print(selection)" + ] + }, + { + "cell_type": "code", + "execution_count": 15, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['MANIFESTO', 'Liquid', 'life', 'realm', 'concepts', 'potential', 'hypercomplexity', 'hyperobject-ness', 'liquid', 'terrains', 'ability', 'totality', 'living', 'things', 'by-products', 'liquid', 'processes', 'Liquid', 'life', 'worldview', 'phantasmagoria', 'effects', 'disobedient', 'substances', 'strategies', 'dalliances', 'skirmishes', 'flirtations', 'addictions', 'phenomena', 'twists', 'turns', 'exchanges', 'manoeuvres', 'alleys', 'digressions', 'ciphers', 'process', 'substance', 'method', 'technology', 'set', 'materials', 'body', 'processes', 'contexts', 'encounters', 'coherence', 'lives', 'beings', '’', 'changes', 'flows', 'ambiguities', 'states', 'points', 'transformation', 'systems', 'Liquid', 'life', 'kind', '‘', '’', 'hyperbody', 'atmosphere', 'environments', 'soils', 'Earth', '’', 's', 'crust', 'Metabolic', 'refers', 'physical', 'chemical', 'outcomes', 'fields', 'matter', 'edge', 'chaos', 'collide', 'vector', 'infection', 'expression', 'materiality', 'principle', 'ecopoiesis', 'process', 'living', 'events', '–', 'life', 'life', 'forms', 'energy', 'gradients', 'density', 'currents', 'flows', 'whirlwinds', 'dust', 'clouds', 'pollution', 'expressions', 'matter', 'terrains', 'Liquid', 'life', 'conditions', 'ingredients', 'webs', 'cycles', 'life', 'death', 'liquid', 'matter', 'quiescent', 'reanimation', 'metabolisms', 'soils', 'Liquid', 'life', 'concepts', 'approach', 'range', 'lenses', 'techniques', 'realm', 'voice', '’', 'perspectives', 'technologies', 'kinds', 'artefacts', 'Bütschli', 'droplets', 'chemical', 'assemblages', 'behaviours', 'agents', 'rhetoric', 'agency', 'semiotics', 'impulses', 'value', 'discourse', 'terms', 'difficulty', 'slippages', 'meaning', 'volition', 'bodies', 'possibility', 'dialectics', 'Liquid', 'life', 'provokes', 'notion', 'consciousness', 'thinking', '’', 'sea', 'possibilities', 'decay', 'towards', 'equilibrium', 'moments', 'tactic', 'palette', 'resources', 'food', 'sources', 'waste', 'materials', 'energy', 'fields', 'alliances', 'decisions', 'coordinating', 'centre', 'brain', 'Liquid', 'non-bodies', 'boundaries', 'bodies', 'structures', 'logic', 'laws', 'behaviour', 'expressions', 'material', 'systems', 'frames', 'reference', 'culture', 'Aspects', 'existence', 'stray', 'realms', 'auras', 'quantum', 'physics', 'ectoplasms', 'realms', 'measurement', 'engagement', 'trysts', 'tactics', 'rise', 'life', 'capacity', 'self-repair', 'Liquid', 'bodies', 'acts', 'transformation', 'matter', 'body', 'entanglements', 'Bête', 'Machine', 'understanding', 'anatomy', 'generalizations', 'ideals', 'bodies', 'tropes', 'Liquid', 'mode', 'existence', 'outcomes', '‘', 'error', '’', '–', 'spectrum', 'stream', 'events', 'interactions', 'matter', 'bodies', 'manifolds', 'substance', 'identity', 'contexts', 'entanglements', 'relations', 'agencies', 'logic', 'objects', 'context', 'ways', 'thinking', 'conventions', 'Liquid', 'fuzziness', 'paradoxes', 'uncertainties', 'living', 'realm', 'tornado', 'cirrus', 'soil', 'embryo', 'biofilm', 'contradictions', 'form', 'constancy', '–', 'encourage', 'readings', 'order', 'world', 'methodology', 'body', 'liquid', 'bodies', 'averages', 'generalizations', 'maps', 'world', 'details', 'forth', 'materiality', 'environment', 'Liquid', 'bodies', 'agents', 'boundaries', 'conditions', 'existence', 'context', 'environments', 'modes', 'living', 'coherent', '–', 'media', 'Liquid', 'thinking', 'invent', 'monsters', 'forms', 'categorization', 'kind', 'corporeality', 'explanations', 'account', 'experiences', '‘', '’']\n" + ] + } + ], + "source": [ + "selection = []\n", + "\n", + "for word, tag in tagged:\n", + " if 'NN' in tag:\n", + " selection.append(word)\n", + "\n", + "print(selection)" + ] + }, + { + "cell_type": "code", + "execution_count": 17, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "\n" + ] + } + ], + "source": [ + "txt = open('manifesto1.txt').read()\n", + "tokens = nltk.word_tokenize(txt)\n", + "fd = nltk.FreqDist(tokens)\n", + "print(fd)" + ] + }, + { + "cell_type": "code", + "execution_count": 19, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "[(',', 71), ('.', 52), ('of', 49), ('and', 37), ('the', 29), ('are', 19), ('that', 17), ('a', 16), ('Liquid', 13), ('to', 13), ('is', 12), ('their', 12), ('life', 10), ('liquid', 10), ('bodies', 10), ('They', 10), ('as', 9), ('’', 9), ('‘', 8), ('our', 7), ('in', 7), ('which', 7), ('not', 6), ('can', 6), ('through', 6), ('–', 6), ('its', 5), ('It', 5), ('matter', 5), ('being', 5), ('an', 4), ('or', 4), ('we', 4), ('living', 4), ('be', 4), ('These', 4), ('from', 4), ('these', 4), ('they', 4), ('us', 4), ('realm', 3), ('The', 3), ('them', 3), ('recognise', 3), ('into', 3), ('body', 3), ('within', 3), ('physical', 3), ('for', 3), ('with', 3), ('own', 3), ('capable', 3), ('like', 3), ('thinking', 3), ('existence', 3), ('invite', 3), ('concepts', 2), ('terrains', 2), ('exceeds', 2), ('Indeed', 2), ('what', 2), ('processes', 2), ('quantum', 2), ('process', 2), ('substance', 2), ('more', 2), ('than', 2), ('materials', 2), ('recognizable', 2), ('vital', 2), ('specific', 2), ('contexts', 2), ('subjective', 2), ('remain', 2), ('persistent', 2), ('such', 2), ('flows', 2), ('bring', 2), ('transformation', 2), ('systems', 2), ('kind', 2), ('metabolic', 2), ('weather', 2), ('dynamic', 2), ('-', 2), ('environments', 2), ('soils', 2), ('chemical', 2), ('even', 2), ('outcomes', 2), ('when', 2), ('fields', 2), ('materiality', 2), ('lifelike', 2), ('events', 2), ('forms', 2), ('arise', 2), ('energy', 2), ('expressions', 2), ('conditions', 2)]\n" + ] + } + ], + "source": [ + "print(fd.most_common(100))" + ] + }, + { + "cell_type": "code", + "execution_count": 20, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "10\n" + ] + } + ], + "source": [ + "print(fd['liquid'])" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + } + ], + "metadata": { + "kernelspec": { + "display_name": "Python 3", + "language": "python", + "name": "python3" + }, + "language_info": { + "codemirror_mode": { + "name": "ipython", + "version": 3 + }, + "file_extension": ".py", + "mimetype": "text/x-python", + "name": "python", + "nbconvert_exporter": "python", + "pygments_lexer": "ipython3", + "version": "3.7.3" + } + }, + "nbformat": 4, + "nbformat_minor": 4 +} diff --git a/LIQUID/MANIFESTO/nltk-frequency-distribution-Copy1.ipynb b/LIQUID/MANIFESTO/nltk-frequency-distribution-Copy1.ipynb new file mode 100644 index 0000000..be22e7e --- /dev/null +++ b/LIQUID/MANIFESTO/nltk-frequency-distribution-Copy1.ipynb @@ -0,0 +1,264 @@ +{ + "cells": [ + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "# NLTK - Frequency Distribution" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "https://www.nltk.org/book/ch01.html#frequency-distributions" + ] + }, + { + "cell_type": "code", + "execution_count": 1, + "metadata": {}, + "outputs": [], + "source": [ + "import nltk\n", + "import random" + ] + }, + { + "cell_type": "code", + "execution_count": 2, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "LIQUID BODIES ARE POLITICAL AGENTS. THEY RE-DEFINE THE BOUNDARIES AND CONDITIONS FOR EXISTENCE IN THE CONTEXT OF DYNAMIC, UNRULY ENVIRONMENTS. THEY PROPOSE ALTERNATIVE MODES OF LIVING THAT ARE RADICALLY TRANSFORMED, MONSTROUS, COHERENT, RAW – AND SELECTIVELY PERMEATED BY THEIR NURTURING MEDIA.\n", + "\n" + ] + } + ], + "source": [ + "lines = open('manifesto.txt').readlines()\n", + "sentence = random.choice(lines)\n", + "print(sentence)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## Tokens" + ] + }, + { + "cell_type": "code", + "execution_count": 3, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['LIQUID', 'BODIES', 'ARE', 'POLITICAL', 'AGENTS', '.', 'THEY', 'RE-DEFINE', 'THE', 'BOUNDARIES', 'AND', 'CONDITIONS', 'FOR', 'EXISTENCE', 'IN', 'THE', 'CONTEXT', 'OF', 'DYNAMIC', ',', 'UNRULY', 'ENVIRONMENTS', '.', 'THEY', 'PROPOSE', 'ALTERNATIVE', 'MODES', 'OF', 'LIVING', 'THAT', 'ARE', 'RADICALLY', 'TRANSFORMED', ',', 'MONSTROUS', ',', 'COHERENT', ',', 'RAW', '–', 'AND', 'SELECTIVELY', 'PERMEATED', 'BY', 'THEIR', 'NURTURING', 'MEDIA', '.']\n" + ] + } + ], + "source": [ + "tokens = nltk.word_tokenize(sentence)\n", + "print(tokens)" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## Frequency Distribution" + ] + }, + { + "cell_type": "code", + "execution_count": 4, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "\n" + ] + } + ], + "source": [ + "# frequency of characters\n", + "fd = nltk.FreqDist(sentence)\n", + "print(fd)" + ] + }, + { + "cell_type": "code", + "execution_count": 5, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "[(' ', 40), ('E', 33), ('T', 22), ('N', 22), ('I', 21), ('R', 19), ('O', 17), ('A', 17), ('D', 13), ('S', 12), ('L', 10), ('C', 8), ('U', 7), ('H', 7), ('Y', 7), ('M', 7), ('F', 5), ('P', 4), (',', 4), ('V', 4), ('B', 3), ('G', 3), ('.', 3), ('X', 2), ('Q', 1), ('-', 1), ('W', 1), ('–', 1), ('\\n', 1)]\n" + ] + } + ], + "source": [ + "print(fd.most_common(50))" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": 6, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "\n" + ] + } + ], + "source": [ + "# frequency of words\n", + "fd = nltk.FreqDist(tokens)\n", + "print(fd)" + ] + }, + { + "cell_type": "code", + "execution_count": 7, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "[(',', 4), ('.', 3), ('ARE', 2), ('THEY', 2), ('THE', 2), ('AND', 2), ('OF', 2), ('LIQUID', 1), ('BODIES', 1), ('POLITICAL', 1), ('AGENTS', 1), ('RE-DEFINE', 1), ('BOUNDARIES', 1), ('CONDITIONS', 1), ('FOR', 1), ('EXISTENCE', 1), ('IN', 1), ('CONTEXT', 1), ('DYNAMIC', 1), ('UNRULY', 1), ('ENVIRONMENTS', 1), ('PROPOSE', 1), ('ALTERNATIVE', 1), ('MODES', 1), ('LIVING', 1), ('THAT', 1), ('RADICALLY', 1), ('TRANSFORMED', 1), ('MONSTROUS', 1), ('COHERENT', 1), ('RAW', 1), ('–', 1), ('SELECTIVELY', 1), ('PERMEATED', 1), ('BY', 1), ('THEIR', 1), ('NURTURING', 1), ('MEDIA', 1)]\n" + ] + } + ], + "source": [ + "print(fd.most_common(50))" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": 8, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "\n" + ] + } + ], + "source": [ + "# frequency of a text\n", + "txt = open('manifesto.txt').read()\n", + "tokens = nltk.word_tokenize(txt)\n", + "fd = nltk.FreqDist(tokens)\n", + "print(fd)" + ] + }, + { + "cell_type": "code", + "execution_count": 9, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "[(',', 100), ('.', 69), ('OF', 68), ('THE', 57), ('AND', 50), ('LIQUID', 25), ('A', 25), ('ARE', 19), ('THAT', 19), ('TO', 18), ('ITS', 17), ('IN', 15), ('THEY', 15), ('IS', 14), ('THEIR', 14), ('LIFE', 11), ('’', 11), ('BODIES', 11), ('IT', 10), ('AS', 9), ('WHICH', 9), ('THESE', 9), ('‘', 8), ('–', 8), ('OUR', 7), ('THROUGH', 7), ('MATTER', 7), ('NOT', 6), ('CAN', 6), ('INTO', 6), ('FROM', 6), ('WITH', 6), ('BEING', 6), ('LIKE', 5), ('ON', 5), ('AN', 4), ('OR', 4), ('WE', 4), ('LIVING', 4), ('BE', 4), ('METABOLIC', 4), ('CHEMICAL', 4), ('FOR', 4), ('OWN', 4), ('US', 4), ('ACTS', 4), ('REALM', 3), ('YET', 3), ('THEM', 3), ('RECOGNISE', 3)]\n" + ] + } + ], + "source": [ + "print(fd.most_common(50))" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": 10, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "47\n" + ] + } + ], + "source": [ + "# Requesting the frequency of a specific word\n", + "print(fd['language'])" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + } + ], + "metadata": { + "kernelspec": { + "display_name": "Python 3", + "language": "python", + "name": "python3" + }, + "language_info": { + "codemirror_mode": { + "name": "ipython", + "version": 3 + }, + "file_extension": ".py", + "mimetype": "text/x-python", + "name": "python", + "nbconvert_exporter": "python", + "pygments_lexer": "ipython3", + "version": "3.7.3" + } + }, + "nbformat": 4, + "nbformat_minor": 4 +} diff --git a/LIQUID/MANIFESTO/nltk-pos-tagger-Copy1.ipynb b/LIQUID/MANIFESTO/nltk-pos-tagger-Copy1.ipynb new file mode 100644 index 0000000..f683fc0 --- /dev/null +++ b/LIQUID/MANIFESTO/nltk-pos-tagger-Copy1.ipynb @@ -0,0 +1,1599 @@ +{ + "cells": [ + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "# NLTK - Part of Speech" + ] + }, + { + "cell_type": "code", + "execution_count": 1, + "metadata": {}, + "outputs": [], + "source": [ + "import nltk\n", + "import random" + ] + }, + { + "cell_type": "code", + "execution_count": 49, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "LIQUID BODIES ARE PLURI-PONTENT. THEY ARE CAPABLE OF MANY ACTS OF TRANSFORMATION. THEY DE-SIMPLIFY THE MATTER OF BEING A BODY THROUGH THEIR VISCERAL ENTANGLEMENTS. WHILE THE BÊTE MACHINE DEPENDS ON AN ABSTRACTED UNDERSTANDING OF ANATOMY FOUNDED UPON GENERALIZATIONS AND IDEALS, LIQUID BODIES RESIST THESE TROPES. LIQUID BODIES DISCUSS A MODE OF EXISTENCE THAT IS CONSTANTLY CHANGING – NOT AS THE CUMULATIVE OUTCOMES OF ‘ERROR’ – BUT AS A HIGHLY CHOREOGRAPHED AND CONTINUOUS SPECTRUM STREAM OF EVENTS THAT ARISE FROM THE PHYSICAL INTERACTIONS OF MATTER. THEY INTERNALIZE OTHER BODIES AS MANIFOLDS WITHIN THEIR SUBSTANCE AND ASSERT THEIR IDENTITY THROUGH THEIR ENVIRONMENTAL CONTEXTS. SUCH ENTANGLEMENTS INVOKE MARGINAL RELATIONS BETWEEN MULTIPLE AGENCIES AND EXCEED THE CLASSICAL LOGIC OF OBJECTS. THEY ARE INSEPARABLE FROM THEIR CONTEXT AND OFFER WAYS OF THINKING AND EXPERIMENTING WITH THE CONVENTIONS OF MAKING AND BEING EMBODIED.\n", + "\n" + ] + } + ], + "source": [ + "lines = open('manifesto.txt').readlines()\n", + "sentence = random.choice(lines)\n", + "print(sentence)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## Tokens" + ] + }, + { + "cell_type": "code", + "execution_count": 50, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['LIQUID', 'BODIES', 'ARE', 'PLURI-PONTENT', '.', 'THEY', 'ARE', 'CAPABLE', 'OF', 'MANY', 'ACTS', 'OF', 'TRANSFORMATION', '.', 'THEY', 'DE-SIMPLIFY', 'THE', 'MATTER', 'OF', 'BEING', 'A', 'BODY', 'THROUGH', 'THEIR', 'VISCERAL', 'ENTANGLEMENTS', '.', 'WHILE', 'THE', 'BÊTE', 'MACHINE', 'DEPENDS', 'ON', 'AN', 'ABSTRACTED', 'UNDERSTANDING', 'OF', 'ANATOMY', 'FOUNDED', 'UPON', 'GENERALIZATIONS', 'AND', 'IDEALS', ',', 'LIQUID', 'BODIES', 'RESIST', 'THESE', 'TROPES', '.', 'LIQUID', 'BODIES', 'DISCUSS', 'A', 'MODE', 'OF', 'EXISTENCE', 'THAT', 'IS', 'CONSTANTLY', 'CHANGING', '–', 'NOT', 'AS', 'THE', 'CUMULATIVE', 'OUTCOMES', 'OF', '‘', 'ERROR', '’', '–', 'BUT', 'AS', 'A', 'HIGHLY', 'CHOREOGRAPHED', 'AND', 'CONTINUOUS', 'SPECTRUM', 'STREAM', 'OF', 'EVENTS', 'THAT', 'ARISE', 'FROM', 'THE', 'PHYSICAL', 'INTERACTIONS', 'OF', 'MATTER', '.', 'THEY', 'INTERNALIZE', 'OTHER', 'BODIES', 'AS', 'MANIFOLDS', 'WITHIN', 'THEIR', 'SUBSTANCE', 'AND', 'ASSERT', 'THEIR', 'IDENTITY', 'THROUGH', 'THEIR', 'ENVIRONMENTAL', 'CONTEXTS', '.', 'SUCH', 'ENTANGLEMENTS', 'INVOKE', 'MARGINAL', 'RELATIONS', 'BETWEEN', 'MULTIPLE', 'AGENCIES', 'AND', 'EXCEED', 'THE', 'CLASSICAL', 'LOGIC', 'OF', 'OBJECTS', '.', 'THEY', 'ARE', 'INSEPARABLE', 'FROM', 'THEIR', 'CONTEXT', 'AND', 'OFFER', 'WAYS', 'OF', 'THINKING', 'AND', 'EXPERIMENTING', 'WITH', 'THE', 'CONVENTIONS', 'OF', 'MAKING', 'AND', 'BEING', 'EMBODIED', '.']\n" + ] + } + ], + "source": [ + "tokens = nltk.word_tokenize(sentence)\n", + "print(tokens)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## Part of Speech \"tags\"" + ] + }, + { + "cell_type": "code", + "execution_count": 51, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "[('LIQUID', 'JJ'), ('BODIES', 'NNP'), ('ARE', 'NNP'), ('PLURI-PONTENT', 'NNP'), ('.', '.'), ('THEY', 'NNP'), ('ARE', 'NNP'), ('CAPABLE', 'NNP'), ('OF', 'NNP'), ('MANY', 'NNP'), ('ACTS', 'NNP'), ('OF', 'NNP'), ('TRANSFORMATION', 'NNP'), ('.', '.'), ('THEY', 'NNP'), ('DE-SIMPLIFY', 'VBP'), ('THE', 'NNP'), ('MATTER', 'NNP'), ('OF', 'NNP'), ('BEING', 'NNP'), ('A', 'NNP'), ('BODY', 'NNP'), ('THROUGH', 'NNP'), ('THEIR', 'NNP'), ('VISCERAL', 'NNP'), ('ENTANGLEMENTS', 'NNP'), ('.', '.'), ('WHILE', 'IN'), ('THE', 'DT'), ('BÊTE', 'NNP'), ('MACHINE', 'NNP'), ('DEPENDS', 'NNP'), ('ON', 'NNP'), ('AN', 'NNP'), ('ABSTRACTED', 'NNP'), ('UNDERSTANDING', 'NN'), ('OF', 'NNP'), ('ANATOMY', 'NNP'), ('FOUNDED', 'NNP'), ('UPON', 'NNP'), ('GENERALIZATIONS', 'NNP'), ('AND', 'NNP'), ('IDEALS', 'NNP'), (',', ','), ('LIQUID', 'NNP'), ('BODIES', 'NNP'), ('RESIST', 'NNP'), ('THESE', 'NNP'), ('TROPES', 'NNP'), ('.', '.'), ('LIQUID', 'NNP'), ('BODIES', 'NNP'), ('DISCUSS', 'NNP'), ('A', 'NNP'), ('MODE', 'NNP'), ('OF', 'NNP'), ('EXISTENCE', 'NNP'), ('THAT', 'NNP'), ('IS', 'VBZ'), ('CONSTANTLY', 'NNP'), ('CHANGING', 'NNP'), ('–', 'NNP'), ('NOT', 'NNP'), ('AS', 'IN'), ('THE', 'NNP'), ('CUMULATIVE', 'NNP'), ('OUTCOMES', 'NNP'), ('OF', 'NNP'), ('‘', 'NNP'), ('ERROR', 'NNP'), ('’', 'NNP'), ('–', 'NNP'), ('BUT', 'NNP'), ('AS', 'IN'), ('A', 'NNP'), ('HIGHLY', 'NNP'), ('CHOREOGRAPHED', 'NNP'), ('AND', 'NNP'), ('CONTINUOUS', 'NNP'), ('SPECTRUM', 'NNP'), ('STREAM', 'NNP'), ('OF', 'NNP'), ('EVENTS', 'NNP'), ('THAT', 'NNP'), ('ARISE', 'NNP'), ('FROM', 'NNP'), ('THE', 'NNP'), ('PHYSICAL', 'NNP'), ('INTERACTIONS', 'NNP'), ('OF', 'NNP'), ('MATTER', 'NNP'), ('.', '.'), ('THEY', 'NNP'), ('INTERNALIZE', 'NNP'), ('OTHER', 'NNP'), ('BODIES', 'NNP'), ('AS', 'NNP'), ('MANIFOLDS', 'NNP'), ('WITHIN', 'NNP'), ('THEIR', 'NNP'), ('SUBSTANCE', 'NNP'), ('AND', 'NNP'), ('ASSERT', 'NNP'), ('THEIR', 'NNP'), ('IDENTITY', 'NNP'), ('THROUGH', 'NNP'), ('THEIR', 'NNP'), ('ENVIRONMENTAL', 'NNP'), ('CONTEXTS', 'NNP'), ('.', '.'), ('SUCH', 'JJ'), ('ENTANGLEMENTS', 'NNP'), ('INVOKE', 'NNP'), ('MARGINAL', 'NNP'), ('RELATIONS', 'NNP'), ('BETWEEN', 'NNP'), ('MULTIPLE', 'NNP'), ('AGENCIES', 'NNP'), ('AND', 'NNP'), ('EXCEED', 'NNP'), ('THE', 'NNP'), ('CLASSICAL', 'NNP'), ('LOGIC', 'NNP'), ('OF', 'NNP'), ('OBJECTS', 'NNP'), ('.', '.'), ('THEY', 'NNP'), ('ARE', 'VBP'), ('INSEPARABLE', 'NNP'), ('FROM', 'NNP'), ('THEIR', 'NNP'), ('CONTEXT', 'NNP'), ('AND', 'NNP'), ('OFFER', 'NNP'), ('WAYS', 'NNP'), ('OF', 'NNP'), ('THINKING', 'NNP'), ('AND', 'NNP'), ('EXPERIMENTING', 'NNP'), ('WITH', 'NNP'), ('THE', 'NNP'), ('CONVENTIONS', 'NNP'), ('OF', 'NNP'), ('MAKING', 'NNP'), ('AND', 'NNP'), ('BEING', 'NNP'), ('EMBODIED', 'NNP'), ('.', '.')]\n" + ] + } + ], + "source": [ + "tagged = nltk.pos_tag(tokens)\n", + "print(tagged)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "Now, you could select for example all the type of **verbs**:" + ] + }, + { + "cell_type": "code", + "execution_count": 43, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['LIQUID', 'BODIES', 'INVITE', 'US', 'TO', 'ARTICULATE', 'THE', 'FUZZINESS', 'PARADOXES', 'AND', 'UNCERTAINTIES', 'THE', 'LIVING', 'REALM', 'THEY', 'ARE', 'STILL', 'INSTANTLY', 'RECOGNIZABLE', 'CAN', 'BE', 'NAMED', 'AS', 'TORNADO', 'CIRRUS', 'SOIL', 'EMBRYO', 'OR', 'BIOFILM', 'THESE', 'CONTRADICTIONS', '–', 'OF', 'FORM', 'AND', 'CONSTANCY', '–', 'ENCOURAGE', 'ALTERNATIVE', 'READINGS', 'OF', 'HOW', 'WE', 'ORDER', 'AND', 'SORT', 'THE', 'WORLD', 'WHOSE', 'MAIN', 'METHODOLOGY', 'IS', 'THROUGH', 'RELATING', 'ONE', 'BODY', 'TO', 'ANOTHER', 'INDEED', 'PROTEAN', 'LIQUID', 'BODIES', 'HELP', 'US', 'UNDERSTAND', 'THAT', 'WHILE', 'UNIVERSALISMS', 'AVERAGES', 'AND', 'GENERALIZATIONS', 'ARE', 'USEFUL', 'IN', 'PRODUCING', 'MAPS', 'OUR', 'BEING', 'IN', 'THE', 'WORLD', 'THEY', 'NEGLECT', 'SPECIFIC', 'DETAILS', 'WHICH', '‘', 'BRING', 'FORTH', 'THE', 'MATERIALITY', 'THE', 'ENVIRONMENT']\n" + ] + } + ], + "source": [ + "selection = []\n", + "\n", + "for word, tag in tagged:\n", + " if 'NN' in tag:\n", + " selection.append(word)\n", + "\n", + "print(selection)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "### Where do these tags come from?" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "> An off-the-shelf tagger is available for English. It uses the Penn Treebank tagset.\n", + "\n", + "From: http://www.nltk.org/api/nltk.tag.html#module-nltk.tag" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "> NLTK provides documentation for each tag, which can be queried using the tag, e.g. nltk.help.upenn_tagset('RB').\n", + "\n", + "From: http://www.nltk.org/book_1ed/ch05.html" + ] + }, + { + "cell_type": "code", + "execution_count": 10, + "metadata": {}, + "outputs": [ + { + "ename": "LookupError", + "evalue": "\n**********************************************************************\n Resource \u001b[93mtagsets\u001b[0m not found.\n Please use the NLTK Downloader to obtain the resource:\n\n \u001b[31m>>> import nltk\n >>> nltk.download('tagsets')\n \u001b[0m\n For more information see: https://www.nltk.org/data.html\n\n Attempted to load \u001b[93mhelp/tagsets/PY3/upenn_tagset.pickle\u001b[0m\n\n Searched in:\n - '/home/kendalb/nltk_data'\n - '/usr/nltk_data'\n - '/usr/share/nltk_data'\n - '/usr/lib/nltk_data'\n - '/usr/share/nltk_data'\n - '/usr/local/share/nltk_data'\n - '/usr/lib/nltk_data'\n - '/usr/local/lib/nltk_data'\n - ''\n**********************************************************************\n", + "output_type": "error", + "traceback": [ + "\u001b[0;31m---------------------------------------------------------------------------\u001b[0m", + "\u001b[0;31mLookupError\u001b[0m Traceback (most recent call last)", + "\u001b[0;32m\u001b[0m in \u001b[0;36m\u001b[0;34m\u001b[0m\n\u001b[0;32m----> 1\u001b[0;31m \u001b[0mnltk\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mhelp\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mupenn_tagset\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m'PRP'\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m", + "\u001b[0;32m/usr/local/lib/python3.7/dist-packages/nltk/help.py\u001b[0m in \u001b[0;36mupenn_tagset\u001b[0;34m(tagpattern)\u001b[0m\n\u001b[1;32m 25\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 26\u001b[0m \u001b[0;32mdef\u001b[0m \u001b[0mupenn_tagset\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mtagpattern\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0;32mNone\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m---> 27\u001b[0;31m \u001b[0m_format_tagset\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m\"upenn_tagset\"\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mtagpattern\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m 28\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 29\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n", + "\u001b[0;32m/usr/local/lib/python3.7/dist-packages/nltk/help.py\u001b[0m in \u001b[0;36m_format_tagset\u001b[0;34m(tagset, tagpattern)\u001b[0m\n\u001b[1;32m 44\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 45\u001b[0m \u001b[0;32mdef\u001b[0m \u001b[0m_format_tagset\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mtagset\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mtagpattern\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0;32mNone\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m---> 46\u001b[0;31m \u001b[0mtagdict\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mload\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m\"help/tagsets/\"\u001b[0m \u001b[0;34m+\u001b[0m \u001b[0mtagset\u001b[0m \u001b[0;34m+\u001b[0m \u001b[0;34m\".pickle\"\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m 47\u001b[0m \u001b[0;32mif\u001b[0m \u001b[0;32mnot\u001b[0m \u001b[0mtagpattern\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 48\u001b[0m \u001b[0m_print_entries\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0msorted\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mtagdict\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mtagdict\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n", + "\u001b[0;32m/usr/local/lib/python3.7/dist-packages/nltk/data.py\u001b[0m in \u001b[0;36mload\u001b[0;34m(resource_url, format, cache, verbose, logic_parser, fstruct_reader, encoding)\u001b[0m\n\u001b[1;32m 750\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 751\u001b[0m \u001b[0;31m# Load the resource.\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 752\u001b[0;31m \u001b[0mopened_resource\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0m_open\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mresource_url\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m 753\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 754\u001b[0m \u001b[0;32mif\u001b[0m \u001b[0mformat\u001b[0m \u001b[0;34m==\u001b[0m \u001b[0;34m\"raw\"\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n", + "\u001b[0;32m/usr/local/lib/python3.7/dist-packages/nltk/data.py\u001b[0m in \u001b[0;36m_open\u001b[0;34m(resource_url)\u001b[0m\n\u001b[1;32m 875\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 876\u001b[0m \u001b[0;32mif\u001b[0m \u001b[0mprotocol\u001b[0m \u001b[0;32mis\u001b[0m \u001b[0;32mNone\u001b[0m \u001b[0;32mor\u001b[0m \u001b[0mprotocol\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mlower\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m \u001b[0;34m==\u001b[0m \u001b[0;34m\"nltk\"\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 877\u001b[0;31m \u001b[0;32mreturn\u001b[0m \u001b[0mfind\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mpath_\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mpath\u001b[0m \u001b[0;34m+\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m\"\"\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mopen\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m 878\u001b[0m \u001b[0;32melif\u001b[0m \u001b[0mprotocol\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mlower\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m \u001b[0;34m==\u001b[0m \u001b[0;34m\"file\"\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 879\u001b[0m \u001b[0;31m# urllib might not use mode='rb', so handle this one ourselves:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n", + "\u001b[0;32m/usr/local/lib/python3.7/dist-packages/nltk/data.py\u001b[0m in \u001b[0;36mfind\u001b[0;34m(resource_name, paths)\u001b[0m\n\u001b[1;32m 583\u001b[0m \u001b[0msep\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;34m\"*\"\u001b[0m \u001b[0;34m*\u001b[0m \u001b[0;36m70\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 584\u001b[0m \u001b[0mresource_not_found\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;34m\"\\n%s\\n%s\\n%s\\n\"\u001b[0m \u001b[0;34m%\u001b[0m \u001b[0;34m(\u001b[0m\u001b[0msep\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mmsg\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0msep\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 585\u001b[0;31m \u001b[0;32mraise\u001b[0m \u001b[0mLookupError\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mresource_not_found\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m 586\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 587\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n", + "\u001b[0;31mLookupError\u001b[0m: \n**********************************************************************\n Resource \u001b[93mtagsets\u001b[0m not found.\n Please use the NLTK Downloader to obtain the resource:\n\n \u001b[31m>>> import nltk\n >>> nltk.download('tagsets')\n \u001b[0m\n For more information see: https://www.nltk.org/data.html\n\n Attempted to load \u001b[93mhelp/tagsets/PY3/upenn_tagset.pickle\u001b[0m\n\n Searched in:\n - '/home/kendalb/nltk_data'\n - '/usr/nltk_data'\n - '/usr/share/nltk_data'\n - '/usr/lib/nltk_data'\n - '/usr/share/nltk_data'\n - '/usr/local/share/nltk_data'\n - '/usr/lib/nltk_data'\n - '/usr/local/lib/nltk_data'\n - ''\n**********************************************************************\n" + ] + } + ], + "source": [ + "nltk.help.upenn_tagset('PRP')" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "------------" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "An alphabetical list of part-of-speech tags used in the Penn Treebank Project ([link](https://www.ling.upenn.edu/courses/Fall_2003/ling001/penn_treebank_pos.html)):\n", + "\n", + "\n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + "
\n", + "
Number
\n", + "
\n", + "
Tag
\n", + "
\n", + "
Description
\n", + "
1. CC Coordinating conjunction
2. CD Cardinal number
3. DT Determiner
4. EX Existential there
5. FW Foreign word
6. IN Preposition or subordinating conjunction
7. JJ Adjective
8. JJR Adjective, comparative
9. JJS Adjective, superlative
10. LS List item marker
11. MD Modal
12. NN Noun, singular or mass
13. NNS Noun, plural
14. NNP Proper noun, singular
15. NNPS Proper noun, plural
16. PDT Predeterminer
17. POS Possessive ending
18. PRP Personal pronoun
19. PRP\\$ Possessive pronoun
20. RB Adverb
21. RBR Adverb, comparative
22. RBS Adverb, superlative
23. RP Particle
24. SYM Symbol
25. TO to
26. UH Interjection
27. VB Verb, base form
28. VBD Verb, past tense
29. VBG Verb, gerund or present participle
30. VBN Verb, past participle
31. VBP Verb, non-3rd person singular present
32. VBZ Verb, 3rd person singular present
33. WDT Wh-determiner
34. WP Wh-pronoun
35. WP$ Possessive wh-pronoun
36. WRB Wh-adverb \n", + "
" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## A telling/tricky case\n", + "It's important to realize that POS tagging is not a fixed property of a word -- but depends on the context of each word. The NLTK book gives an example of [homonyms](http://www.nltk.org/book_1ed/ch05.html#using-a-tagger) -- words that are written the same, but are actually pronounced differently and have different meanings depending on their use." + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [ + "text = nltk.word_tokenize(\"They refuse to permit us to obtain the refuse permit\")\n", + "nltk.pos_tag(text)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "From the book:\n", + "\n", + "> Notice that refuse and permit both appear as a present tense verb (VBP) and a noun (NN). E.g. refUSE is a verb meaning \"deny,\" while REFuse is a noun meaning \"trash\" (i.e. they are not homophones). Thus, we need to know which word is being used in order to pronounce the text correctly. (For this reason, text-to-speech systems usually perform POS-tagging.)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## Applying to an entire text" + ] + }, + { + "cell_type": "code", + "execution_count": 24, + "metadata": {}, + "outputs": [], + "source": [ + "language = open('../txt/language.txt').read()\n", + "tokens = nltk.word_tokenize(language)\n", + "tagged = nltk.pos_tag(tokens)" + ] + }, + { + "cell_type": "code", + "execution_count": 25, + "metadata": { + "collapsed": true, + "jupyter": { + "outputs_hidden": true + } + }, + "outputs": [ + { + "data": { + "text/plain": [ + "[('Language', 'NN'),\n", + " ('Florian', 'JJ'),\n", + " ('Cramer', 'NNP'),\n", + " ('Software', 'NNP'),\n", + " ('and', 'CC'),\n", + " ('language', 'NN'),\n", + " ('are', 'VBP'),\n", + " ('intrinsically', 'RB'),\n", + " ('related', 'VBN'),\n", + " (',', ','),\n", + " ('since', 'IN'),\n", + " ('software', 'NN'),\n", + " ('may', 'MD'),\n", + " ('process', 'VB'),\n", + " ('language', 'NN'),\n", + " (',', ','),\n", + " ('and', 'CC'),\n", + " ('is', 'VBZ'),\n", + " ('constructed', 'VBN'),\n", + " ('in', 'IN'),\n", + " ('language', 'NN'),\n", + " ('.', '.'),\n", + " ('Yet', 'CC'),\n", + " ('language', 'NN'),\n", + " ('means', 'VBZ'),\n", + " ('different', 'JJ'),\n", + " ('things', 'NNS'),\n", + " ('in', 'IN'),\n", + " ('the', 'DT'),\n", + " ('context', 'NN'),\n", + " ('of', 'IN'),\n", + " ('computing', 'VBG'),\n", + " (':', ':'),\n", + " ('formal', 'JJ'),\n", + " ('languages', 'NNS'),\n", + " ('in', 'IN'),\n", + " ('which', 'WDT'),\n", + " ('algorithms', 'EX'),\n", + " ('are', 'VBP'),\n", + " ('expressed', 'VBN'),\n", + " ('and', 'CC'),\n", + " ('software', 'NN'),\n", + " ('is', 'VBZ'),\n", + " ('implemented', 'VBN'),\n", + " (',', ','),\n", + " ('and', 'CC'),\n", + " ('in', 'IN'),\n", + " ('so-called', 'JJ'),\n", + " ('“', 'NNP'),\n", + " ('natural', 'JJ'),\n", + " ('”', 'NNP'),\n", + " ('spoken', 'NN'),\n", + " ('languages', 'NNS'),\n", + " ('.', '.'),\n", + " ('There', 'EX'),\n", + " ('are', 'VBP'),\n", + " ('at', 'IN'),\n", + " ('least', 'JJS'),\n", + " ('two', 'CD'),\n", + " ('layers', 'NNS'),\n", + " ('of', 'IN'),\n", + " ('formal', 'JJ'),\n", + " ('language', 'NN'),\n", + " ('in', 'IN'),\n", + " ('software', 'NN'),\n", + " (':', ':'),\n", + " ('programming', 'NN'),\n", + " ('language', 'NN'),\n", + " ('in', 'IN'),\n", + " ('which', 'WDT'),\n", + " ('the', 'DT'),\n", + " ('software', 'NN'),\n", + " ('is', 'VBZ'),\n", + " ('written', 'VBN'),\n", + " (',', ','),\n", + " ('and', 'CC'),\n", + " ('the', 'DT'),\n", + " ('language', 'NN'),\n", + " ('implemented', 'VBD'),\n", + " ('within', 'IN'),\n", + " ('the', 'DT'),\n", + " ('software', 'NN'),\n", + " ('as', 'IN'),\n", + " ('its', 'PRP$'),\n", + " ('symbolic', 'JJ'),\n", + " ('controls', 'NNS'),\n", + " ('.', '.'),\n", + " ('In', 'IN'),\n", + " ('the', 'DT'),\n", + " ('case', 'NN'),\n", + " ('of', 'IN'),\n", + " ('compilers', 'NNS'),\n", + " (',', ','),\n", + " ('shells', 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('language', 'NN'),\n", + " ('is', 'VBZ'),\n", + " ('thus', 'RB'),\n", + " ('a', 'DT'),\n", + " ('cultural', 'JJ'),\n", + " ('compromise', 'NN'),\n", + " ('between', 'IN'),\n", + " ('the', 'DT'),\n", + " ('constraints', 'NNS'),\n", + " ('of', 'IN'),\n", + " ('machine', 'NN'),\n", + " ('design—which', 'NN'),\n", + " ('is', 'VBZ'),\n", + " ('far', 'RB'),\n", + " ('from', 'IN'),\n", + " ('objective', 'JJ'),\n", + " (',', ','),\n", + " ('but', 'CC'),\n", + " ('based', 'VBN'),\n", + " ('on', 'IN'),\n", + " ('human', 'JJ'),\n", + " ('choices', 'NNS'),\n", + " (',', ','),\n", + " ('culture', 'NN'),\n", + " (',', ','),\n", + " ('and', 'CC'),\n", + " ('thinking', 'VBG'),\n", + " ('style', 'NN'),\n", + " ('itself', 'PRP'),\n", + " ('4—and', 'CD'),\n", + " ('the', 'DT'),\n", + " ('equally', 'RB'),\n", + " ('subjective', 'JJ'),\n", + " ('user', 'NN'),\n", + " ('preferences', 'NNS'),\n", + " (',', ','),\n", + " ('involving', 'VBG'),\n", + " ('fuzzy', 'JJ'),\n", + " ('factors', 'NNS'),\n", + " ('like', 'IN'),\n", + " ('readability', 'NN'),\n", + " (',', ','),\n", + " ('elegance', 'NN'),\n", + " (',', ','),\n", + " ('and', 'CC'),\n", + " ('usage', 'JJ'),\n", + " ('efficiency', 'NN'),\n", + " ('.', '.'),\n", + " ('The', 'DT'),\n", + " ('symbols', 'NNS'),\n", + " ('of', 'IN'),\n", + " ('computer', 'NN'),\n", + " ('control', 'NN'),\n", + " ('languages', 'VBZ'),\n", + " ('inevitably', 'RB'),\n", + " ('do', 'VBP'),\n", + " ('have', 'VB'),\n", + " ('semantic', 'JJ'),\n", + " ('connotations', 'NNS'),\n", + " ('simply', 'RB'),\n", + " ('because', 'IN'),\n", + " ('there', 'EX'),\n", + " ('exist', 'VBP'),\n", + " ('no', 'DT'),\n", + " ('symbols', 'NNS'),\n", + " ('with', 'IN'),\n", + " ('which', 'WDT'),\n", + " ('humans', 'NNS'),\n", + " ('would', 'MD'),\n", + " ('not', 'RB'),\n", + " ('associate', 'VB'),\n", + " ('some', 'DT'),\n", + " ('meaning', 'NN'),\n", + " ('.', '.'),\n", + " ('But', 'CC'),\n", + " ('symbols', 'NNS'),\n", + " ('can', 'MD'),\n", + " ('’', 'VB'),\n", + " ('t', 'JJ'),\n", + " ('denote', 'NN'),\n", + " ('any', 'DT'),\n", + " ('semantic', 'JJ'),\n", + " ('statements', 'NNS'),\n", + " (',', ','),\n", + " ('that', 'DT'),\n", + " ('is', 'VBZ'),\n", + " (',', ','),\n", + " ('they', 'PRP'),\n", + " ('do', 'VBP'),\n", + " ('not', 'RB'),\n", + " ('express', 'VB'),\n", + " ('meaning', 'VBG'),\n", + " ('in', 'IN'),\n", + " ('their', 'PRP$'),\n", + " ('own', 'JJ'),\n", + " ('terms', 'NNS'),\n", + " (';', ':'),\n", + " ('humans', 'NNS'),\n", + " ('metaphorically', 'RB'),\n", + " ('read', 'VB'),\n", + " ('meaning', 'VBG'),\n", + " ('into', 'IN'),\n", + " ('them', 'PRP'),\n", + " ('through', 'IN'),\n", + " ('associations', 'NNS'),\n", + " ('they', 'PRP'),\n", + " ('make', 'VBP'),\n", + " ('.', '.'),\n", + " ('Languages', 'NNS'),\n", + " ('without', 'IN'),\n", + " ('semantic', 'JJ'),\n", + " ('denotation', 'NN'),\n", + " ('are', 'VBP'),\n", + " ('not', 'RB'),\n", + " ('historically', 'RB'),\n", + " ('new', 'JJ'),\n", + " ('phenomena', 'NNS'),\n", + " (';', ':'),\n", + " ('mathematical', 'JJ'),\n", + " ('formulas', 'NNS'),\n", + " ('are', 'VBP'),\n", + " ('their', 'PRP$'),\n", + " ('oldest', 'JJS'),\n", + " ('example', 'NN'),\n", + " ('.', '.'),\n", + " ('In', 'IN'),\n", + " ('comparison', 'NN'),\n", + " ('to', 'TO'),\n", + " ('common', 'JJ'),\n", + " ('human', 'JJ'),\n", + " ('languages', 'NNS'),\n", + " (',', ','),\n", + " ('the', 'DT'),\n", + " ('multitude', 'NN'),\n", + " ('of', 'IN'),\n", + " ('programming', 'VBG'),\n", + " ('languages', 'NNS'),\n", + " ('is', 'VBZ'),\n", + " ('of', 'IN'),\n", + " ('lesser', 'JJR'),\n", + " ('significance', 'NN'),\n", + " ('.', '.'),\n", + " ('The', 'DT'),\n", + " ('criterion', 'NN'),\n", + " ('of', 'IN'),\n", + " ('Turing', 'NNP'),\n", + " ('completeness', 'NN'),\n", + " ('of', 'IN'),\n", + " ('a', 'DT'),\n", + " ('programming', 'NN'),\n", + " ('language', 'NN'),\n", + " (',', ','),\n", + " ('that', 'WDT'),\n", + " ('is', 'VBZ'),\n", + " (',', ','),\n", + " ('that', 'IN'),\n", + " ('any', 'DT'),\n", + " ('computation', 'NN'),\n", + " ('can', 'MD'),\n", + " ('be', 'VB'),\n", + " ('expressed', 'VBN'),\n", + " ('in', 'IN'),\n", + " ('it', 'PRP'),\n", + " (',', ','),\n", + " ('means', 'VBZ'),\n", + " ('that', 'IN'),\n", + " ('every', 'DT'),\n", + " ('programming', 'NN'),\n", + " ('language', 'NN'),\n", + " ('is', 'VBZ'),\n", + " (',', ','),\n", + " ('formally', 'RB'),\n", + " ('speaking', 'VBG'),\n", + " (',', ','),\n", + " ('just', 'RB'),\n", + " ('a', 'DT'),\n", + " ('riff', 'NN'),\n", + " ('on', 'IN'),\n", + " ('every', 'DT'),\n", + " ('other', 'JJ'),\n", + " ('programming', 'NN'),\n", + " ('language', 'NN'),\n", + " ('.', '.'),\n", + " ('Nothing', 'NN'),\n", + " ('can', 'MD'),\n", + " ('be', 'VB'),\n", + " ('expressed', 'VBN'),\n", + " ('in', 'IN'),\n", + " ('a', 'DT'),\n", + " ('Turingcomplete', 'JJ'),\n", + " ('language', 'NN'),\n", + " ('such', 'JJ'),\n", + " ('as', 'IN'),\n", + " ('C', 'NNP'),\n", + " ('that', 'IN'),\n", + " ('couldn', 'NN'),\n", + " ('’', 'NNP'),\n", + " ('t', 'NN'),\n", + " ('also', 'RB'),\n", + " ('be', 'VB'),\n", + " ('expressed', 'VBN'),\n", + " ('in', 'IN'),\n", + " ('another', 'DT'),\n", + " ('Turingcomplete', 'NNP'),\n", + " ('language', 'NN'),\n", + " ('such', 'JJ'),\n", + " ('as', 'IN'),\n", + " ('Lisp', 'NNP'),\n", + " ('(', '('),\n", + " ('or', 'CC'),\n", + " ('Fortran', 'NNP'),\n", + " (',', ','),\n", + " ('Smalltalk', 'NNP'),\n", + " (',', ','),\n", + " ('Java', 'NNP'),\n", + " ('...', ':'),\n", + " (')', ')'),\n", + " ('and', 'CC'),\n", + " ('vice', 'NN'),\n", + " ('versa', 'NN'),\n", + " ('.', '.'),\n", + " ('This', 'DT'),\n", + " ('ultimately', 'JJ'),\n", + " ('proves', 'VBZ'),\n", + " ('the', 'DT'),\n", + " ...]" + ] + }, + "execution_count": 25, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "tagged" + ] + }, + { + "cell_type": "code", + "execution_count": 19, + "metadata": {}, + "outputs": [], + "source": [ + "words = \"in the beginning was heaven and earth and the time of the whatever\".split()" + ] + }, + { + "cell_type": "code", + "execution_count": 20, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "['in',\n", + " 'the',\n", + " 'beginning',\n", + " 'was',\n", + " 'heaven',\n", + " 'and',\n", + " 'earth',\n", + " 'and',\n", + " 'the',\n", + " 'time',\n", + " 'of',\n", + " 'the',\n", + " 'whatever']" + ] + }, + "execution_count": 20, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "words" + ] + }, + { + "cell_type": "code", + "execution_count": 21, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "1" + ] + }, + "execution_count": 21, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "words.index(\"the\")" + ] + }, + { + "cell_type": "code", + "execution_count": 22, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "IN\n", + "1 the\n", + "BEGINNING\n", + "WAS\n", + "HEAVEN\n", + "AND\n", + "EARTH\n", + "AND\n", + "8 the\n", + "TIME\n", + "OF\n", + "11 the\n", + "WHATEVER\n" + ] + } + ], + "source": [ + "for i, word in enumerate(words):\n", + " if word == \"the\":\n", + " print (i, word)\n", + " else:\n", + " print (word.upper())" + ] + }, + { + "cell_type": "code", + "execution_count": 23, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "'in'" + ] + }, + "execution_count": 23, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "import random \n", + "\n", + "words = {}\n", + "words[\"VB\"] = []\n", + "\n", + "for word in nltk.word_tokenize(\"in the beginning was heaven and earth and the time of the whatever\"):\n", + " words[\"VB\"].append(word)\n", + " \n", + "random.choice(words[\"VB\"])" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + } + ], + "metadata": { + "kernelspec": { + "display_name": "Python 3", + "language": "python", + "name": "python3" + }, + "language_info": { + "codemirror_mode": { + "name": "ipython", + "version": 3 + }, + "file_extension": ".py", + "mimetype": "text/x-python", + "name": "python", + "nbconvert_exporter": "python", + "pygments_lexer": "ipython3", + "version": "3.7.3" + } + }, + "nbformat": 4, + "nbformat_minor": 4 +} diff --git a/LIQUID/MANIFESTO/nltk-pos-tagging-and-weasyprint.ipynb b/LIQUID/MANIFESTO/nltk-pos-tagging-and-weasyprint.ipynb new file mode 100644 index 0000000..d4ed58b --- /dev/null +++ b/LIQUID/MANIFESTO/nltk-pos-tagging-and-weasyprint.ipynb @@ -0,0 +1,207 @@ +{ + "cells": [ + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "# NLTK pos-tagged HTML → PDF" + ] + }, + { + "cell_type": "code", + "execution_count": 4, + "metadata": {}, + "outputs": [], + "source": [ + "import nltk\n", + "from weasyprint import HTML, CSS" + ] + }, + { + "cell_type": "code", + "execution_count": 5, + "metadata": {}, + "outputs": [], + "source": [ + "# open the input file\n", + "txt = open('manifesto1.txt').read()\n", + "words = nltk.word_tokenize(txt)\n", + "tagged_words = nltk.pos_tag(words)" + ] + }, + { + "cell_type": "code", + "execution_count": 22, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "A0Grid_30opac-01.png manifesto.pdf\n", + "language.css\t nltk-frequency-distribution-Copy1.ipynb\n", + "manifesto1.txt\t nltk-pos-tagger-Copy1.ipynb\n", + "manifesto.css\t nltk-pos-tagging-and-weasyprint.ipynb\n", + "manifesto.html\t nltk-similar-words-Copy1.ipynb\n", + "manifestonltk.ipynb pattern-search-Copy1.ipynb\n" + ] + } + ], + "source": [ + "!ls" + ] + }, + { + "cell_type": "code", + "execution_count": 6, + "metadata": {}, + "outputs": [], + "source": [ + "# collect all the pieces of HTML\n", + "content = ''\n", + "content += '

A Liquid Manifesto

'\n", + "\n", + "for word, tag in tagged_words:\n", + " content += f'{ word } '" + ] + }, + { + "cell_type": "code", + "execution_count": 7, + "metadata": {}, + "outputs": [], + "source": [ + "# write the HTML file\n", + "with open(\"manifesto.html\", \"w\") as f:\n", + " f.write(f\"\"\"\n", + "\n", + "\n", + " \n", + " \n", + " \n", + "\n", + "\n", + "{ content }\n", + "\n", + "\"\"\")" + ] + }, + { + "cell_type": "code", + "execution_count": 8, + "metadata": {}, + "outputs": [], + "source": [ + "# write a CSS file\n", + "with open(\"language.css\", \"w\") as f:\n", + " f.write(\"\"\"\n", + "\n", + "@page{\n", + " size:A4;\n", + " background-color:lightgrey;\n", + " margin:10mm;\n", + "}\n", + ".JJ{\n", + " color:red;\n", + "}\n", + ".VB,\n", + ".VBG{\n", + " color:magenta;\n", + "}\n", + ".NN,\n", + ".NNP{\n", + " color:green;\n", + "}\n", + ".EX{\n", + " color: blue;\n", + "}\n", + " \"\"\")" + ] + }, + { + "cell_type": "code", + "execution_count": 9, + "metadata": {}, + "outputs": [], + "source": [ + "# If you use @font-face in your stylesheet, you would need Weasyprint's FontConfiguration()\n", + "from weasyprint.fonts import FontConfiguration\n", + "\n", + "font_config = FontConfiguration()" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [ + "# collect all the files and write the PDF\n", + "html = HTML(\"manifesto.html\")\n", + "css = CSS(\"manifesto.css\")\n", + "html.write_pdf('manifesto.pdf', stylesheets=[css], font_config=font_config)" + ] + }, + { + "cell_type": "code", + "execution_count": 1, + "metadata": {}, + "outputs": [ + { + "data": { + "text/html": [ + "\n", + " \n", + " " + ], + "text/plain": [ + "" + ] + }, + "execution_count": 1, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "# Preview your PDF in the notebook!\n", + "from IPython.display import IFrame, display\n", + "IFrame(\".pdf\", width=900, height=600)" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + } + ], + "metadata": { + "kernelspec": { + "display_name": "Python 3", + "language": "python", + "name": "python3" + }, + "language_info": { + "codemirror_mode": { + "name": "ipython", + "version": 3 + }, + "file_extension": ".py", + "mimetype": "text/x-python", + "name": "python", + "nbconvert_exporter": "python", + "pygments_lexer": "ipython3", + "version": "3.7.3" + } + }, + "nbformat": 4, + "nbformat_minor": 4 +} diff --git a/LIQUID/MANIFESTO/nltk-similar-words-Copy1.ipynb b/LIQUID/MANIFESTO/nltk-similar-words-Copy1.ipynb new file mode 100644 index 0000000..d7bd3fc --- /dev/null +++ b/LIQUID/MANIFESTO/nltk-similar-words-Copy1.ipynb @@ -0,0 +1,231 @@ +{ + "cells": [ + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "# NLTK - Similar Words" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "https://www.nltk.org/book/ch01.html#searching-text" + ] + }, + { + "cell_type": "code", + "execution_count": 1, + "metadata": {}, + "outputs": [], + "source": [ + "import nltk" + ] + }, + { + "cell_type": "code", + "execution_count": 2, + "metadata": {}, + "outputs": [], + "source": [ + "txt = open('manifesto.txt').read()" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## Tokens" + ] + }, + { + "cell_type": "code", + "execution_count": 3, + "metadata": { + "scrolled": true + }, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['_MANIFESTO', 'LIQUID', 'LIFE', 'IS', 'AN', 'UNCERTAIN', 'REALM', '.', 'THE', 'CONCEPTS', 'NEEDED', 'TO', 'REALISE', 'ITS', 'POTENTIAL', 'HAVE', 'NOT', 'YET', 'EXISTED', 'UNTIL', 'NOW', '.', 'THE', 'HYPERCOMPLEXITY', 'AND', 'HYPEROBJECT-NESS', 'OF', 'LIQUID', 'TERRAINS', 'EXCEEDS', 'OUR', 'ABILITY', 'TO', 'OBSERVE', 'OR', 'COMPREHEND', 'THEM', 'IN', 'THEIR', 'TOTALITY', '.', 'INDEED', ',', 'WHAT', 'WE', 'TYPICALLY', 'RECOGNISE', 'AS', 'LIVING', 'THINGS', 'ARE', 'BY-PRODUCTS', 'OF', 'LIQUID', 'PROCESSES', '.', 'LIQUID', 'LIFE', 'IS', 'A', 'WORLDVIEW', '.', 'A', 'PHANTASMAGORIA', 'OF', 'EFFECTS', ',', 'DISOBEDIENT', 'SUBSTANCES', ',', 'EVASIVE', 'STRATEGIES', ',', 'DALLIANCES', ',', 'SKIRMISHES', ',', 'FLIRTATIONS', ',', 'ADDICTIONS', ',', 'QUANTUM', 'PHENOMENA', ',', 'UNEXPECTED', 'TWISTS', ',', 'SUDDEN', 'TURNS', ',', 'FURTIVE', 'EXCHANGES', ',', 'SLY', 'MANOEUVRES', ',', 'BLIND', 'ALLEYS', ',', 'AND', 'EXUBERANT', 'DIGRESSIONS', '.', 'IT', 'CAN', 'NOT', 'BE', 'REDUCED', 'INTO', 'SIMPLE', 'CIPHERS', 'OF', 'PROCESS', ',', 'SUBSTANCE', ',', 'METHOD', ',', 'OR', 'TECHNOLOGY', '.', 'IT', 'IS', 'MORE', 'THAN', 'A', 'SET', 'OF', 'PARTICULAR', 'MATERIALS', 'THAT', 'COMPRISE', 'A', 'RECOGNIZABLE', 'BODY', '.', 'IT', 'IS', 'MORE', 'THAN', 'VITAL', 'PROCESSES', 'THAT', 'ARE', 'SHAPED', 'ACCORDING', 'TO', 'SPECIFIC', 'CONTEXTS', 'AND', 'SUBJECTIVE', 'ENCOUNTERS', '.', 'YET', 'WE', 'RECOGNISE', 'ITS', 'COHERENCE', 'THROUGH', 'THE', 'LIVES', 'OF', '‘', 'BEINGS', '’', ',', 'WHICH', 'REMAIN', 'COGENT', 'DESPITE', 'INCALCULABLE', 'PERSISTENT', 'CHANGES', 'SUCH', 'AS', 'FLOWS', ',', 'AMBIGUITIES', ',', 'TRANSITIONAL', 'STATES', 'AND', 'TIPPING', 'POINTS', 'THAT', 'BRING', 'ABOUT', 'RADICAL', 'TRANSFORMATION', 'WITHIN', 'PHYSICAL', 'SYSTEMS', '.', 'LIQUID', 'LIFE', 'IS', 'A', 'KIND', 'OF', '‘', 'METABOLIC', 'WEATHER', '’', '.', 'IT', 'IS', 'A', 'DYNAMIC', 'SUBSTRATE', '-', 'OR', 'HYPERBODY', '-', 'THAT', 'PERMEATES', 'THE', 'ATMOSPHERE', ',', 'LIQUID', 'ENVIRONMENTS', ',', 'SOILS', 'AND', 'EARTH', '’', 'S', 'CRUST', '.', '‘', 'METABOLIC', 'WEATHER', '’', 'REFERS', 'TO', 'COMPLEX', 'PHYSICAL', ',', 'CHEMICAL', 'AND', 'EVEN', 'BIOLOGICAL', 'OUTCOMES', 'THAT', 'ARE', 'PROVOKED', 'WHEN', 'FIELDS', 'OF', 'MATTER', 'AT', 'THE', 'EDGE', 'OF', 'CHAOS', 'COLLIDE', '.', 'IT', 'IS', 'A', 'VECTOR', 'OF', 'INFECTION', ',', 'AN', 'EXPRESSION', 'OF', 'RECALCITRANT', 'MATERIALITY', 'AND', 'A', 'PRINCIPLE', 'OF', 'ECOPOIESIS', ',', 'WHICH', 'UNDERPINS', 'THE', 'PROCESS', 'OF', 'LIVING', ',', 'LIFELIKE', 'EVENTS', '–', 'AND', 'EVEN', 'LIFE', 'ITSELF', '.', 'THESE', 'LIFE', 'FORMS', 'ARISE', 'FROM', 'ENERGY', 'GRADIENTS', ',', 'DENSITY', 'CURRENTS', ',', 'KATABATIC', 'FLOWS', ',', 'WHIRLWINDS', ',', 'DUST', 'CLOUDS', ',', 'POLLUTION', 'AND', 'THE', 'MYRIAD', 'EXPRESSIONS', 'OF', 'MATTER', 'THAT', 'DETAIL', 'OUR', '(', 'EARTHY', ',', 'LIQUID', ',', 'GASEOUS', ')', 'TERRAINS', '.', 'LIQUID', 'LIFE', 'IS', 'IMMORTAL', '.', 'ARISING', 'FROM', 'OUR', 'UNIQUE', 'PLANETARY', 'CONDITIONS', ',', 'ITS', 'INGREDIENTS', 'ARE', 'CONTINUALLY', 'RE-INCORPORATED', 'INTO', 'ACTIVE', 'METABOLIC', 'WEBS', 'THROUGH', 'CYCLES', 'OF', 'LIFE', 'AND', 'DEATH', '.', 'MOST', 'DECEASED', 'LIQUID', 'MATTER', 'LIES', 'QUIESCENT', ',', 'PATIENTLY', 'WAITING', 'FOR', 'ITS', 'REANIMATION', 'THROUGH', 'THE', 'PERSISTENT', 'METABOLISMS', 'WITHIN', 'OUR', 'SOILS', '.', 'LIQUID', 'LIFE', 'EXCEEDS', 'RHETORIC', '.', 'ITS', 'CONCEPTS', 'CAN', 'BE', 'EMBODIED', 'AND', 'EXPERIMENTALLY', 'TESTED', 'USING', 'A', 'TRANS-DISCIPLINARY', 'APPROACH', ',', 'WHICH', 'DRAWS', 'UPON', 'A', 'RANGE', 'OF', 'CONCEPTUAL', 'LENSES', 'AND', 'TECHNIQUES', 'TO', 'INVOLVE', 'THE', 'LIQUID', 'REALM', 'WITH', 'ITS', 'OWN', '‘', 'VOICE', '’', '.', 'FROM', 'THESE', 'PERSPECTIVES', 'LIQUID', 'TECHNOLOGIES', 'EMERGE', 'THAT', 'ARE', 'CAPABLE', 'OF', 'GENERATING', 'NEW', 'KINDS', 'OF', 'ARTEFACTS', ',', 'LIKE', 'BÜTSCHLI', 'DROPLETS', ',', 'WHICH', 'ARE', 'LIQUID', 'CHEMICAL', 'ASSEMBLAGES', 'CAPABLE', 'OF', 'SURPRISINGLY', 'LIFELIKE', 'BEHAVIOURS', '.', 'THESE', 'AGENTS', 'EXCEED', 'RHETORIC', ',', 'AS', 'THEY', 'POSSESS', 'THEIR', 'OWN', 'AGENCY', ',', 'SEMIOTICS', ',', 'AND', 'CHOREOGRAPHIC', 'IMPULSES', ',', 'WHICH', 'ALLOW', 'US', 'TO', 'VALUE', 'AND', 'ENGAGE', 'IN', 'DISCOURSE', 'WITH', 'THEM', 'ON', 'THEIR', 'TERMS', '.', 'THE', 'DIFFICULTY', 'AND', 'SLIPPAGES', 'IN', 'MEANING', 'AND', 'VOLITION', 'BETWEEN', 'PARTICIPATING', 'BODIES', 'CREATES', 'THE', 'POSSIBILITY', 'OF', 'EN', 'EVOLVING', 'POLY-VOCAL', 'DIALECTICS', '.', 'LIQUID', 'LIFE', 'PROVOKES', 'AN', 'EXPANDED', 'NOTION', 'OF', 'CONSCIOUSNESS', '.', 'ITS', '‘', 'THINKING', '’', 'IS', 'A', 'MOLECULAR', 'SEA', 'OF', 'POSSIBILITIES', 'THAT', 'RESIST', 'THE', 'RAPID', 'DECAY', 'TOWARDS', 'THERMODYNAMIC', 'EQUILIBRIUM', '.', 'IN', 'THESE', 'VITAL', 'MOMENTS', 'IT', 'INDULGES', 'EVERY', 'POSSIBLE', 'TACTIC', 'TO', 'PERSIST', ',', 'ACQUIRING', 'A', 'RICH', 'PALETTE', 'OF', 'NATURAL', 'RESOURCES', ',', 'FOOD', 'SOURCES', ',', 'WASTE', 'MATERIALS', ',', 'AND', 'ENERGY', 'FIELDS', '.', 'THESE', 'MATERIAL', 'ALLIANCES', 'NECESSITATE', 'DECISIONS', 'THAT', 'DO', 'NOT', 'REQUIRE', 'A', 'COORDINATING', 'CENTRE', ',', 'LIKE', 'THE', 'BRAIN', '.', 'LIQUID', 'ARE', 'NON-BODIES', '.', 'THEY', 'ARE', 'WITHOUT', 'FORMAL', 'BOUNDARIES', 'AND', 'ARE', 'CONSTANTLY', 'CHANGING', '.', 'LIQUID', 'BODIES', 'ARE', 'PARADOXICAL', 'STRUCTURES', 'THAT', 'POSSESS', 'THEIR', 'OWN', 'LOGIC', '.', 'ALTHOUGH', 'CLASSICAL', 'LAWS', 'MAY', 'APPROXIMATE', 'THEIR', 'BEHAVIOUR', ',', 'THEY', 'CAN', 'NOT', 'PREDICT', 'THEM', '.', 'THEY', 'ARE', 'TANGIBLE', 'EXPRESSIONS', 'OF', 'NONLINEAR', 'MATERIAL', 'SYSTEMS', ',', 'WHICH', 'EXIST', 'OUTSIDE', 'OF', 'THE', 'CURRENT', 'FRAMES', 'OF', 'REFERENCE', 'THAT', 'OUR', 'GLOBAL', 'INDUSTRIAL', 'CULTURE', 'IS', 'STEEPED', 'IN', '.', 'ASPECTS', 'OF', 'THEIR', 'EXISTENCE', 'STRAY', 'INTO', 'THE', 'UNCONVENTIONAL', 'AND', 'LIMINAL', 'REALMS', 'OF', 'AURAS', ',', 'QUANTUM', 'PHYSICS', ',', 'AND', 'ECTOPLASMS', '.', 'IN', 'THESE', 'REALMS', 'THEY', 'CAN', 'NOT', 'BE', 'APPRECIATED', 'BY', 'OBJECTIVE', 'MEASUREMENT', 'AND', 'INVITE', 'SUBJECTIVE', 'ENGAGEMENT', ',', 'LIKE', 'POETIC', 'TRYSTS', '.', 'THEIR', 'DIVERSIONARY', 'TACTICS', 'GIVE', 'RISE', 'TO', 'THE', 'VERY', 'ACTS', 'OF', 'LIFE', ',', 'SUCH', 'AS', 'THE', 'CAPACITY', 'TO', 'HEAL', ',', 'ADAPT', ',', 'SELF-REPAIR', ',', 'AND', 'EMPATHIZE', '.', 'LIQUID', 'BODIES', 'ARE', 'PLURI-PONTENT', '.', 'THEY', 'ARE', 'CAPABLE', 'OF', 'MANY', 'ACTS', 'OF', 'TRANSFORMATION', '.', 'THEY', 'DE-SIMPLIFY', 'THE', 'MATTER', 'OF', 'BEING', 'A', 'BODY', 'THROUGH', 'THEIR', 'VISCERAL', 'ENTANGLEMENTS', '.', 'WHILE', 'THE', 'BÊTE', 'MACHINE', 'DEPENDS', 'ON', 'AN', 'ABSTRACTED', 'UNDERSTANDING', 'OF', 'ANATOMY', 'FOUNDED', 'UPON', 'GENERALIZATIONS', 'AND', 'IDEALS', ',', 'LIQUID', 'BODIES', 'RESIST', 'THESE', 'TROPES', '.', 'LIQUID', 'BODIES', 'DISCUSS', 'A', 'MODE', 'OF', 'EXISTENCE', 'THAT', 'IS', 'CONSTANTLY', 'CHANGING', '–', 'NOT', 'AS', 'THE', 'CUMULATIVE', 'OUTCOMES', 'OF', '‘', 'ERROR', '’', '–', 'BUT', 'AS', 'A', 'HIGHLY', 'CHOREOGRAPHED', 'AND', 'CONTINUOUS', 'SPECTRUM', 'STREAM', 'OF', 'EVENTS', 'THAT', 'ARISE', 'FROM', 'THE', 'PHYSICAL', 'INTERACTIONS', 'OF', 'MATTER', '.', 'THEY', 'INTERNALIZE', 'OTHER', 'BODIES', 'AS', 'MANIFOLDS', 'WITHIN', 'THEIR', 'SUBSTANCE', 'AND', 'ASSERT', 'THEIR', 'IDENTITY', 'THROUGH', 'THEIR', 'ENVIRONMENTAL', 'CONTEXTS', '.', 'SUCH', 'ENTANGLEMENTS', 'INVOKE', 'MARGINAL', 'RELATIONS', 'BETWEEN', 'MULTIPLE', 'AGENCIES', 'AND', 'EXCEED', 'THE', 'CLASSICAL', 'LOGIC', 'OF', 'OBJECTS', '.', 'THEY', 'ARE', 'INSEPARABLE', 'FROM', 'THEIR', 'CONTEXT', 'AND', 'OFFER', 'WAYS', 'OF', 'THINKING', 'AND', 'EXPERIMENTING', 'WITH', 'THE', 'CONVENTIONS', 'OF', 'MAKING', 'AND', 'BEING', 'EMBODIED', '.', 'LIQUID', 'BODIES', 'INVITE', 'US', 'TO', 'ARTICULATE', 'THE', 'FUZZINESS', ',', 'PARADOXES', 'AND', 'UNCERTAINTIES', 'OF', 'THE', 'LIVING', 'REALM', '.', 'THEY', 'ARE', 'STILL', 'INSTANTLY', 'RECOGNIZABLE', 'AND', 'CAN', 'BE', 'NAMED', 'AS', 'TORNADO', ',', 'CIRRUS', ',', 'SOIL', ',', 'EMBRYO', ',', 'OR', 'BIOFILM', '.', 'THESE', 'CONTRADICTIONS', '–', 'OF', 'FORM', 'AND', 'CONSTANCY', '–', 'ENCOURAGE', 'ALTERNATIVE', 'READINGS', 'OF', 'HOW', 'WE', 'ORDER', 'AND', 'SORT', 'THE', 'WORLD', ',', 'WHOSE', 'MAIN', 'METHODOLOGY', 'IS', 'THROUGH', 'RELATING', 'ONE', 'BODY', 'TO', 'ANOTHER', '.', 'INDEED', ',', 'PROTEAN', 'LIQUID', 'BODIES', 'HELP', 'US', 'UNDERSTAND', 'THAT', 'WHILE', 'UNIVERSALISMS', ',', 'AVERAGES', 'AND', 'GENERALIZATIONS', 'ARE', 'USEFUL', 'IN', 'PRODUCING', 'MAPS', 'OF', 'OUR', 'BEING', 'IN', 'THE', 'WORLD', ',', 'THEY', 'NEGLECT', 'SPECIFIC', 'DETAILS', ',', 'WHICH', '‘', 'BRING', 'FORTH', '’', 'THE', 'MATERIALITY', 'OF', 'THE', 'ENVIRONMENT', '.', 'LIQUID', 'BODIES', 'ARE', 'POLITICAL', 'AGENTS', '.', 'THEY', 'RE-DEFINE', 'THE', 'BOUNDARIES', 'AND', 'CONDITIONS', 'FOR', 'EXISTENCE', 'IN', 'THE', 'CONTEXT', 'OF', 'DYNAMIC', ',', 'UNRULY', 'ENVIRONMENTS', '.', 'THEY', 'PROPOSE', 'ALTERNATIVE', 'MODES', 'OF', 'LIVING', 'THAT', 'ARE', 'RADICALLY', 'TRANSFORMED', ',', 'MONSTROUS', ',', 'COHERENT', ',', 'RAW', '–', 'AND', 'SELECTIVELY', 'PERMEATED', 'BY', 'THEIR', 'NURTURING', 'MEDIA', '.', 'LIQUID', 'BODIES', 'INVITE', 'US', 'TO', 'UNDERSTAND', 'OUR', 'BEING', 'BEYOND', 'RELATIONAL', 'THINKING', 'AND', 'INVENT', 'MONSTERS', 'THAT', 'DEFY', 'ALL', 'EXISTING', 'FORMS', 'OF', 'CATEGORIZATION', 'TO', 'MAKE', 'POSSIBLE', 'A', 'NEW', 'KIND', 'OF', 'CORPOREALITY', '.', 'THEY', 'ARE', 'WHAT', 'REMAIN', 'WHEN', 'MECHANICAL', 'EXPLANATIONS', 'CAN', 'NO', 'LONGER', 'ACCOUNT', 'FOR', 'THE', 'EXPERIENCES', 'THAT', 'WE', 'RECOGNISE', 'AS', '‘', 'BEING', 'ALIVE.', '’', '“', 'LIQUID', 'LIFE', 'ARISES', 'FROM', 'OUT', 'OF', 'A', 'SOUP', ',', 'SMOG', ',', 'A', 'SCAB', ',', 'FIRE', '–', 'WHERE', 'THE', 'INCANDESCENT', 'HEAVENS', 'RAIN', 'MOLTEN', 'ROCK', 'AND', 'ALKALI', 'MEETS', 'OIL', '–', 'A', 'CHOREOGRAPHY', 'OF', 'PRIMORDIAL', 'METABOLIC', 'FLAMES', '.', 'AMIDST', 'THE', 'REDUCING', 'ATMOSPHERE', 'OF', 'CHOKING', 'TOXIC', 'GASES', ',', 'ITS', 'COMING-INTO-BEING', 'DRAWS', 'MOMENTARILY', 'INTO', 'FOCUS', 'AND', 'RECEDES', 'AGAIN', '.', 'THE', 'UNFATHOMABLE', 'DARKNESS', 'OF', 'THE', 'HADEAN', 'EPOCH', 'IS', 'REINCARNATED', 'HERE', '.', 'IT', 'IS', 'DRENCHED', 'IN', 'THICK', 'GAS', 'CLOUDS', ',', 'UNWEATHERED', 'DUSTS', ',', 'AND', 'PUNGENT', 'VAPOURS', ',', 'WHICH', 'OBFUSCATE', 'THE', 'LIGHT', '.', 'THE', 'INSULATING', 'BLANKET', 'OF', 'GASEOUS', 'POISONS', 'PROTECTS', 'THE', 'LAND', 'AGAINST', 'THE', 'CRUEL', 'STARE', 'OF', 'ULTRAVIOLET', 'RAYS', 'AND', 'IONIZING', 'SPACE', 'RADIATION', ',', 'WHICH', 'SPITE', 'THE', 'EARTH', '’', 'S', 'SURFACE', '.', 'OUT', 'OF', 'THESE', 'VOLATILE', 'CAUSTIC', 'BODIES', ',', 'A', 'SUCCESSION', 'OF', 'CHEMICAL', 'GHOSTS', 'HAUNTS', 'THE', 'HEAVY', 'ATMOSPHERE', '.', 'HERE', ',', 'IMAGINARY', 'FIGURES', ',', 'LIKE', 'THOSE', 'THAT', 'APPEAR', 'IN', 'A', 'FEVERED', 'CONDITION', ',', 'SPLIT', 'FAINT', 'LIGHT', 'AROUND', '.', 'THEY', 'WANDER', 'AMONG', 'THE', 'AURAS', 'OF', 'TURBULENT', 'INTERFACES', 'AND', 'THICKENING', 'DENSITIES', 'OF', 'MATTER', ',', 'SCUM', 'AND', 'CRUST', '.', 'OVER', 'THE', 'COURSE', 'OF', 'HALF', 'A', 'BILLION', 'YEARS', ',', 'SUDDEN', 'ECTOPLASMS', 'SPEW', 'IN', 'SUCCESSIVE', 'ACTS', 'OVER', 'THE', 'DARKENED', 'THEATRE', 'OF', 'THE', 'PLANET', '.', 'CHARGED', 'SKIES', ',', 'ENLIVENED', 'BY', 'THE', 'IONIC', 'ELECTRICITY', 'OF', 'FLUIDS', 'AND', 'PERIODICALLY', 'LIT', 'WITH', 'PHOTON', 'CUTS', ',', 'STRIKE', 'BLOWS', 'INTO', 'THE', 'GROUND', 'TO', 'BEGIN', 'THE', 'PROCESS', 'OF', 'CHEMICAL', 'EVOLUTION', '.', 'DANCING', 'UNDER', 'IONIC', 'WINDS', 'ELECTRIC', 'STORMS', 'SCRATCH', 'AT', 'THE', 'EARTH', 'AND', 'CHARGED', 'TENDRILS', 'OF', 'MATTER', 'STAND', 'ON', 'THEIR', 'END', '.', 'VULGAR', 'IN', 'ITS', 'BECOMING', ',', 'THE', 'BLUBBER', 'SLOBBERS', 'ON', 'BIOMASS', 'WITH', 'CARBOHYDRATE', 'TEETH', ',', 'DROOLING', 'ENZYMES', 'THAT', 'DIGEST', 'NOTHING', 'BUT', 'ITS', 'OWN', 'BITE', '.', 'ENERGETICALLY', 'INCONTINENT', ',', 'IT', 'ACQUIRES', 'A', 'COLD', 'METABOLISM', 'AND', 'A', 'WATERY', 'HEART', '.', 'EXPANDING', 'AND', 'CONTACTING', ',', 'IT', 'STARTS', 'TO', 'PUMP', 'UNIVERSAL', 'SOLVENT', 'THROUGH', 'ITS', 'LIQUID', 'EYES', ',', 'LENSING', 'ERRANT', 'LIGHT', 'INTO', 'ITS', 'DARK', 'THOUGHTS', '.', 'MINDLESS', ',', 'YET', 'FINELY', 'TUNED', 'TO', 'ITS', 'CONTEXT', ',', 'IT', 'WRIGGLES', 'UPON', 'TIME', '’', 'S', 'COMPOST', ',', 'CHEWING', 'AND', 'CHEWING', 'WITH', 'ITS', 'BONELESS', 'JAWS', 'ON', 'NOTHING', 'BUT', 'THE', 'AGENTS', 'OF', 'DEATH', '.', 'IN', 'ITS', 'STRUCTURAL', 'DISOBEDIENCE', ',', 'THE', 'MISSHAPEN', 'MASS', 'STEADILY', 'GROWS', 'MORE', 'ORGANIZED', 'AND', 'RELUCTANT', 'TO', 'SUCCUMB', 'TO', 'DECAY', '.', 'PATTERNING', 'THE', 'AIR', ',', 'ITS', 'FINGERS', 'EXTEND', 'LIKE', 'CLAWS', ',', 'OBSTRUCTING', 'ITS', 'PASSAGE', 'BETWEEN', 'THE', 'POLES', 'OF', 'OBLIVION', '.', 'CARESSING', 'ITSELF', 'IN', 'GRATUITOUS', 'ACTS', 'OF', 'PROCREATION', ',', 'THE', 'DAUB', 'OFFERS', 'CONTEMPT', 'FOR', 'THE', 'FORCES', 'OF', 'DISORDER', ',', 'AND', 'CRAWLS', 'STEADILY', 'TOWARDS', 'BEING', '.', '”']\n" + ] + } + ], + "source": [ + "tokens = nltk.word_tokenize(txt)\n", + "print(tokens)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## NLTK Text object" + ] + }, + { + "cell_type": "code", + "execution_count": 4, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "\n" + ] + } + ], + "source": [ + "text = nltk.Text(tokens)\n", + "print(text)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## concordance" + ] + }, + { + "cell_type": "code", + "execution_count": 6, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "Displaying 25 of 25 matches:\n", + "_MANIFESTO LIQUID LIFE IS AN UNCERTAIN REALM . THE CO\n", + "RCOMPLEXITY AND HYPEROBJECT-NESS OF LIQUID TERRAINS EXCEEDS OUR ABILITY TO OBS\n", + "AS LIVING THINGS ARE BY-PRODUCTS OF LIQUID PROCESSES . LIQUID LIFE IS A WORLDV\n", + "E BY-PRODUCTS OF LIQUID PROCESSES . LIQUID LIFE IS A WORLDVIEW . A PHANTASMAGO\n", + "FORMATION WITHIN PHYSICAL SYSTEMS . LIQUID LIFE IS A KIND OF ‘ METABOLIC WEATH\n", + "Y - THAT PERMEATES THE ATMOSPHERE , LIQUID ENVIRONMENTS , SOILS AND EARTH ’ S \n", + "F MATTER THAT DETAIL OUR ( EARTHY , LIQUID , GASEOUS ) TERRAINS . LIQUID LIFE \n", + "THY , LIQUID , GASEOUS ) TERRAINS . LIQUID LIFE IS IMMORTAL . ARISING FROM OUR\n", + "S OF LIFE AND DEATH . MOST DECEASED LIQUID MATTER LIES QUIESCENT , PATIENTLY W\n", + "TENT METABOLISMS WITHIN OUR SOILS . LIQUID LIFE EXCEEDS RHETORIC . ITS CONCEPT\n", + "ENSES AND TECHNIQUES TO INVOLVE THE LIQUID REALM WITH ITS OWN ‘ VOICE ’ . FROM\n", + "‘ VOICE ’ . FROM THESE PERSPECTIVES LIQUID TECHNOLOGIES EMERGE THAT ARE CAPABL\n", + " LIKE BÜTSCHLI DROPLETS , WHICH ARE LIQUID CHEMICAL ASSEMBLAGES CAPABLE OF SUR\n", + "EN EVOLVING POLY-VOCAL DIALECTICS . LIQUID LIFE PROVOKES AN EXPANDED NOTION OF\n", + "RDINATING CENTRE , LIKE THE BRAIN . LIQUID ARE NON-BODIES . THEY ARE WITHOUT F\n", + "ARIES AND ARE CONSTANTLY CHANGING . LIQUID BODIES ARE PARADOXICAL STRUCTURES T\n", + "APT , SELF-REPAIR , AND EMPATHIZE . LIQUID BODIES ARE PLURI-PONTENT . THEY ARE\n", + "D UPON GENERALIZATIONS AND IDEALS , LIQUID BODIES RESIST THESE TROPES . LIQUID\n", + "LIQUID BODIES RESIST THESE TROPES . LIQUID BODIES DISCUSS A MODE OF EXISTENCE \n", + "IONS OF MAKING AND BEING EMBODIED . LIQUID BODIES INVITE US TO ARTICULATE THE \n", + " BODY TO ANOTHER . INDEED , PROTEAN LIQUID BODIES HELP US UNDERSTAND THAT WHIL\n", + "HE MATERIALITY OF THE ENVIRONMENT . LIQUID BODIES ARE POLITICAL AGENTS . THEY \n", + "ERMEATED BY THEIR NURTURING MEDIA . LIQUID BODIES INVITE US TO UNDERSTAND OUR \n", + " WE RECOGNISE AS ‘ BEING ALIVE. ’ “ LIQUID LIFE ARISES FROM OUT OF A SOUP , SM\n", + " PUMP UNIVERSAL SOLVENT THROUGH ITS LIQUID EYES , LENSING ERRANT LIGHT INTO IT\n" + ] + } + ], + "source": [ + "# This is what you did with Michael before the break ...\n", + "concordance = text.concordance(\"liquid\")" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## similarities" + ] + }, + { + "cell_type": "code", + "execution_count": 8, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "living\n" + ] + } + ], + "source": [ + "# With a small next step ...\n", + "similar = text.similar(\"liquid\")" + ] + }, + { + "cell_type": "code", + "execution_count": 9, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "liquid_are liquid_invite participating_creates liquid_resist\n", + "liquid_discuss other_as liquid_help caustic_a\n" + ] + } + ], + "source": [ + "# And searching for contexts ...\n", + "contexts = text.common_contexts([\"bodies\"])" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "----------------" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## Read on" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "https://www.nltk.org/book/ch01.html#searching-text (recommended!)" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + } + ], + "metadata": { + "kernelspec": { + "display_name": "Python 3", + "language": "python", + "name": "python3" + }, + "language_info": { + "codemirror_mode": { + "name": "ipython", + "version": 3 + }, + "file_extension": ".py", + "mimetype": "text/x-python", + "name": "python", + "nbconvert_exporter": "python", + "pygments_lexer": "ipython3", + "version": "3.7.3" + } + }, + "nbformat": 4, + "nbformat_minor": 4 +} diff --git a/LIQUID/MANIFESTO/pattern-search-Copy1.ipynb b/LIQUID/MANIFESTO/pattern-search-Copy1.ipynb new file mode 100644 index 0000000..35fe936 --- /dev/null +++ b/LIQUID/MANIFESTO/pattern-search-Copy1.ipynb @@ -0,0 +1,439 @@ +{ + "cells": [ + { + "cell_type": "code", + "execution_count": 1, + "metadata": {}, + "outputs": [], + "source": [ + "from pattern.search import STRICT, search\n", + "from pattern.en import parsetree" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "https://github.com/clips/pattern/wiki/pattern-search\n", + "( inspired by [videogrep](https://github.com/antiboredom/videogrep/blob/master/videogrep/searcher.py) search )" + ] + }, + { + "cell_type": "code", + "execution_count": 15, + "metadata": {}, + "outputs": [], + "source": [ + "text = open(\"manifesto.txt\").read()" + ] + }, + { + "cell_type": "code", + "execution_count": 17, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "'_MANIFESTO\\nLIQUID LIFE IS AN UNCERTAIN REALM. THE CONCEPTS NEEDED TO REALISE ITS POTENTIAL HAVE NOT YET EXISTED UNTIL NOW. THE HYPERCOMPLEXITY AND HYPEROBJECT-NESS OF LIQUID TERRAINS EXCEEDS OUR ABILITY TO OBSERVE OR COMPREHEND THEM IN THEIR TOTALITY. INDEED, WHAT WE TYPICALLY RECOGNISE AS LIVING THINGS ARE BY-PRODUCTS OF LIQUID PROCESSES.\\n\\nLIQUID LIFE IS A WORLDVIEW. A PHANTASMAGORIA OF EFFECTS, DISOBEDIENT SUBSTANCES, EVASIVE STRATEGIES, DALLIANCES, SKIRMISHES, FLIRTATIONS, ADDICTIONS, QUANTUM PHENOMENA, UNEXPECTED TWISTS, SUDDEN TURNS, FURTIVE EXCHANGES, SLY MANOEUVRES, BLIND ALLEYS, AND EXUBERANT DIGRESSIONS. IT CANNOT BE REDUCED INTO SIMPLE CIPHERS OF PROCESS, SUBSTANCE, METHOD, OR TECHNOLOGY. IT IS MORE THAN A SET OF PARTICULAR MATERIALS THAT COMPRISE A RECOGNIZABLE BODY. IT IS MORE THAN VITAL PROCESSES THAT ARE SHAPED ACCORDING TO SPECIFIC CONTEXTS AND SUBJECTIVE ENCOUNTERS. YET WE RECOGNISE ITS COHERENCE THROUGH THE LIVES OF ‘BEINGS’, WHICH REMAIN COGENT DESPITE INCALCULABLE PERSISTENT CHANGES SUCH AS FLOWS, AMBIGUITIES, TRANSITIONAL STATES AND TIPPING POINTS THAT BRING ABOUT RADICAL TRANSFORMATION WITHIN PHYSICAL SYSTEMS.\\n\\nLIQUID LIFE IS A KIND OF ‘METABOLIC WEATHER’. IT IS A DYNAMIC SUBSTRATE - OR HYPERBODY - THAT PERMEATES THE ATMOSPHERE, LIQUID ENVIRONMENTS, SOILS AND EARTH’S CRUST. ‘METABOLIC WEATHER’ REFERS TO COMPLEX PHYSICAL, CHEMICAL AND EVEN BIOLOGICAL OUTCOMES THAT ARE PROVOKED WHEN FIELDS OF MATTER AT THE EDGE OF CHAOS COLLIDE. IT IS A VECTOR OF INFECTION, AN EXPRESSION OF RECALCITRANT MATERIALITY AND A PRINCIPLE OF ECOPOIESIS, WHICH UNDERPINS THE PROCESS OF LIVING, LIFELIKE EVENTS – AND EVEN LIFE ITSELF. THESE LIFE FORMS ARISE FROM ENERGY GRADIENTS, DENSITY CURRENTS, KATABATIC FLOWS, WHIRLWINDS, DUST CLOUDS, POLLUTION AND THE MYRIAD EXPRESSIONS OF MATTER THAT DETAIL OUR (EARTHY, LIQUID, GASEOUS) TERRAINS.\\n\\nLIQUID LIFE IS IMMORTAL. ARISING FROM OUR UNIQUE PLANETARY CONDITIONS, ITS INGREDIENTS ARE CONTINUALLY RE-INCORPORATED INTO ACTIVE METABOLIC WEBS THROUGH CYCLES OF LIFE AND DEATH. MOST DECEASED LIQUID MATTER LIES QUIESCENT, PATIENTLY WAITING FOR ITS REANIMATION THROUGH THE PERSISTENT METABOLISMS WITHIN OUR SOILS.\\n\\nLIQUID LIFE EXCEEDS RHETORIC. ITS CONCEPTS CAN BE EMBODIED AND EXPERIMENTALLY TESTED USING A TRANS-DISCIPLINARY APPROACH, WHICH DRAWS UPON A RANGE OF CONCEPTUAL LENSES AND TECHNIQUES TO INVOLVE THE LIQUID REALM WITH ITS OWN ‘VOICE’. FROM THESE PERSPECTIVES LIQUID TECHNOLOGIES EMERGE THAT ARE CAPABLE OF GENERATING NEW KINDS OF ARTEFACTS, LIKE BÜTSCHLI DROPLETS, WHICH ARE LIQUID CHEMICAL ASSEMBLAGES CAPABLE OF SURPRISINGLY LIFELIKE BEHAVIOURS. THESE AGENTS EXCEED RHETORIC, AS THEY POSSESS THEIR OWN AGENCY, SEMIOTICS, AND CHOREOGRAPHIC IMPULSES, WHICH ALLOW US TO VALUE AND ENGAGE IN DISCOURSE WITH THEM ON THEIR TERMS. THE DIFFICULTY AND SLIPPAGES IN MEANING AND VOLITION BETWEEN PARTICIPATING BODIES CREATES THE POSSIBILITY OF EN EVOLVING POLY-VOCAL DIALECTICS.\\n\\nLIQUID LIFE PROVOKES AN EXPANDED NOTION OF CONSCIOUSNESS. ITS ‘THINKING’ IS A MOLECULAR SEA OF POSSIBILITIES THAT RESIST THE RAPID DECAY TOWARDS THERMODYNAMIC EQUILIBRIUM. IN THESE VITAL MOMENTS IT INDULGES EVERY POSSIBLE TACTIC TO PERSIST, ACQUIRING A RICH PALETTE OF NATURAL RESOURCES, FOOD SOURCES, WASTE MATERIALS, AND ENERGY FIELDS. THESE MATERIAL ALLIANCES NECESSITATE DECISIONS THAT DO NOT REQUIRE A COORDINATING CENTRE, LIKE THE BRAIN.\\n\\nLIQUID ARE NON-BODIES. THEY ARE WITHOUT FORMAL BOUNDARIES AND ARE CONSTANTLY CHANGING.\\n\\nLIQUID BODIES ARE PARADOXICAL STRUCTURES THAT POSSESS THEIR OWN LOGIC. ALTHOUGH CLASSICAL LAWS MAY APPROXIMATE THEIR BEHAVIOUR, THEY CANNOT PREDICT THEM. THEY ARE TANGIBLE EXPRESSIONS OF NONLINEAR MATERIAL SYSTEMS, WHICH EXIST OUTSIDE OF THE CURRENT FRAMES OF REFERENCE THAT OUR GLOBAL INDUSTRIAL CULTURE IS STEEPED IN. ASPECTS OF THEIR EXISTENCE STRAY INTO THE UNCONVENTIONAL AND LIMINAL REALMS OF AURAS, QUANTUM PHYSICS, AND ECTOPLASMS. IN THESE REALMS THEY CANNOT BE APPRECIATED BY OBJECTIVE MEASUREMENT AND INVITE SUBJECTIVE ENGAGEMENT, LIKE POETIC TRYSTS. THEIR DIVERSIONARY TACTICS GIVE RISE TO THE VERY ACTS OF LIFE, SUCH AS THE CAPACITY TO HEAL, ADAPT, SELF-REPAIR, AND EMPATHIZE.\\n\\nLIQUID BODIES ARE PLURI-PONTENT. THEY ARE CAPABLE OF MANY ACTS OF TRANSFORMATION. THEY DE-SIMPLIFY THE MATTER OF BEING A BODY THROUGH THEIR VISCERAL ENTANGLEMENTS. WHILE THE BÊTE MACHINE DEPENDS ON AN ABSTRACTED UNDERSTANDING OF ANATOMY FOUNDED UPON GENERALIZATIONS AND IDEALS, LIQUID BODIES RESIST THESE TROPES. LIQUID BODIES DISCUSS A MODE OF EXISTENCE THAT IS CONSTANTLY CHANGING – NOT AS THE CUMULATIVE OUTCOMES OF ‘ERROR’ – BUT AS A HIGHLY CHOREOGRAPHED AND CONTINUOUS SPECTRUM STREAM OF EVENTS THAT ARISE FROM THE PHYSICAL INTERACTIONS OF MATTER. THEY INTERNALIZE OTHER BODIES AS MANIFOLDS WITHIN THEIR SUBSTANCE AND ASSERT THEIR IDENTITY THROUGH THEIR ENVIRONMENTAL CONTEXTS. SUCH ENTANGLEMENTS INVOKE MARGINAL RELATIONS BETWEEN MULTIPLE AGENCIES AND EXCEED THE CLASSICAL LOGIC OF OBJECTS. THEY ARE INSEPARABLE FROM THEIR CONTEXT AND OFFER WAYS OF THINKING AND EXPERIMENTING WITH THE CONVENTIONS OF MAKING AND BEING EMBODIED.\\n\\nLIQUID BODIES INVITE US TO ARTICULATE THE FUZZINESS, PARADOXES AND UNCERTAINTIES OF THE LIVING REALM. THEY ARE STILL INSTANTLY RECOGNIZABLE AND CAN BE NAMED AS TORNADO, CIRRUS, SOIL, EMBRYO, OR BIOFILM. THESE CONTRADICTIONS – OF FORM AND CONSTANCY – ENCOURAGE ALTERNATIVE READINGS OF HOW WE ORDER AND SORT THE WORLD, WHOSE MAIN METHODOLOGY IS THROUGH RELATING ONE BODY TO ANOTHER. INDEED, PROTEAN LIQUID BODIES HELP US UNDERSTAND THAT WHILE UNIVERSALISMS, AVERAGES AND GENERALIZATIONS ARE USEFUL IN PRODUCING MAPS OF OUR BEING IN THE WORLD, THEY NEGLECT SPECIFIC DETAILS, WHICH ‘BRING FORTH’ THE MATERIALITY OF THE ENVIRONMENT.\\n\\nLIQUID BODIES ARE POLITICAL AGENTS. THEY RE-DEFINE THE BOUNDARIES AND CONDITIONS FOR EXISTENCE IN THE CONTEXT OF DYNAMIC, UNRULY ENVIRONMENTS. THEY PROPOSE ALTERNATIVE MODES OF LIVING THAT ARE RADICALLY TRANSFORMED, MONSTROUS, COHERENT, RAW – AND SELECTIVELY PERMEATED BY THEIR NURTURING MEDIA.\\n\\nLIQUID BODIES INVITE US TO UNDERSTAND OUR BEING BEYOND RELATIONAL THINKING AND INVENT MONSTERS THAT DEFY ALL EXISTING FORMS OF CATEGORIZATION TO MAKE POSSIBLE A NEW KIND OF CORPOREALITY. THEY ARE WHAT REMAIN WHEN MECHANICAL EXPLANATIONS CAN NO LONGER ACCOUNT FOR THE EXPERIENCES THAT WE RECOGNISE AS ‘BEING ALIVE.’\\n\\n“LIQUID LIFE ARISES FROM OUT OF A SOUP, SMOG, A SCAB, FIRE – WHERE THE INCANDESCENT HEAVENS RAIN MOLTEN ROCK AND ALKALI MEETS OIL – A CHOREOGRAPHY OF PRIMORDIAL METABOLIC FLAMES. AMIDST THE REDUCING ATMOSPHERE OF CHOKING TOXIC GASES, ITS COMING-INTO-BEING DRAWS MOMENTARILY INTO FOCUS AND RECEDES AGAIN. THE UNFATHOMABLE DARKNESS OF THE HADEAN EPOCH IS REINCARNATED HERE. IT IS DRENCHED IN THICK GAS CLOUDS, UNWEATHERED DUSTS, AND PUNGENT VAPOURS, WHICH OBFUSCATE THE LIGHT. THE INSULATING BLANKET OF GASEOUS POISONS PROTECTS THE LAND AGAINST THE CRUEL STARE OF ULTRAVIOLET RAYS AND IONIZING SPACE RADIATION, WHICH SPITE THE EARTH’S SURFACE. OUT OF THESE VOLATILE CAUSTIC BODIES, A SUCCESSION OF CHEMICAL GHOSTS HAUNTS THE HEAVY ATMOSPHERE. HERE, IMAGINARY FIGURES, LIKE THOSE THAT APPEAR IN A FEVERED CONDITION, SPLIT FAINT LIGHT AROUND. THEY WANDER AMONG THE AURAS OF TURBULENT INTERFACES AND THICKENING DENSITIES OF MATTER, SCUM AND CRUST. OVER THE COURSE OF HALF A BILLION YEARS, SUDDEN ECTOPLASMS SPEW IN SUCCESSIVE ACTS OVER THE DARKENED THEATRE OF THE PLANET. CHARGED SKIES, ENLIVENED BY THE IONIC ELECTRICITY OF FLUIDS AND PERIODICALLY LIT WITH PHOTON CUTS, STRIKE BLOWS INTO THE GROUND TO BEGIN THE PROCESS OF CHEMICAL EVOLUTION. DANCING UNDER IONIC WINDS ELECTRIC STORMS SCRATCH AT THE EARTH AND CHARGED TENDRILS OF MATTER STAND ON THEIR END. VULGAR IN ITS BECOMING, THE BLUBBER SLOBBERS ON BIOMASS WITH CARBOHYDRATE TEETH, DROOLING ENZYMES THAT DIGEST NOTHING BUT ITS OWN BITE. ENERGETICALLY INCONTINENT, IT ACQUIRES A COLD METABOLISM AND A WATERY HEART. EXPANDING AND CONTACTING, IT STARTS TO PUMP UNIVERSAL SOLVENT THROUGH ITS LIQUID EYES, LENSING ERRANT LIGHT INTO ITS DARK THOUGHTS. MINDLESS, YET FINELY TUNED TO ITS CONTEXT, IT WRIGGLES UPON TIME’S COMPOST, CHEWING AND CHEWING WITH ITS BONELESS JAWS ON NOTHING BUT THE AGENTS OF DEATH. IN ITS STRUCTURAL DISOBEDIENCE, THE MISSHAPEN MASS STEADILY GROWS MORE ORGANIZED AND RELUCTANT TO SUCCUMB TO DECAY. PATTERNING THE AIR, ITS FINGERS EXTEND LIKE CLAWS, OBSTRUCTING ITS PASSAGE BETWEEN THE POLES OF OBLIVION. CARESSING ITSELF IN GRATUITOUS ACTS OF PROCREATION, THE DAUB OFFERS CONTEMPT FOR THE FORCES OF DISORDER, AND CRAWLS STEADILY TOWARDS BEING.”'" + ] + }, + "execution_count": 17, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "text[:10000]" + ] + }, + { + "cell_type": "code", + "execution_count": 18, + "metadata": {}, + "outputs": [], + "source": [ + "tree = parsetree(text)" + ] + }, + { + "cell_type": "code", + "execution_count": 19, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "[Sentence('_/NN/B-NP/O MANIFESTO/NNP/I-NP/O LIQUID/NNP/I-NP/O LIFE/NNP/I-NP/O IS/VBZ/B-VP/O AN/DT/B-NP/O UNCERTAIN/NNP/I-NP/O REALM/NNP/I-NP/O ././O/O'),\n", + " Sentence('THE/DT/B-NP/O CONCEPTS/NNP/I-NP/O NEEDED/NNP/I-NP/O TO/TO/B-VP/O REALISE/VB/I-VP/O ITS/PRP$/B-NP/O POTENTIAL/NNP/I-NP/O HAVE/VB/B-VP/O NOT/RB/B-ADVP/O YET/NN/B-NP/O EXISTED/NN/I-NP/O UNTIL/NNP/I-NP/O NOW/NNP/I-NP/O ././O/O'),\n", + " Sentence('THE/DT/B-NP/O HYPERCOMPLEXITY/NNP/I-NP/O 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EXPRESSIONS/NNP/I-NP/O OF/IN/B-PP/B-PNP MATTER/NNP/B-NP/I-PNP THAT/WDT/O/O DETAIL/VBD/B-VP/O OUR/PRP$/B-NP/O (/(/O/O EARTHY/NNP/B-NP/O ,/,/O/O LIQUID/NNP/B-NP/O ,/,/O/O GASEOUS/NNP/B-NP/O )/)/O/O TERRAINS/NNP/B-NP/O ././O/O'),\n", + " Sentence('LIQUID/JJ/B-NP/O LIFE/NN/I-NP/O IS/VBZ/B-VP/O IMMORTAL/NNP/B-NP/O ././O/O'),\n", + " Sentence('ARISING/VBG/B-VP/O FROM/IN/B-PP/B-PNP OUR/PRP$/B-NP/I-PNP UNIQUE/NNP/I-NP/I-PNP PLANETARY/NNP/I-NP/I-PNP CONDITIONS/NNP/I-NP/I-PNP ,/,/O/O ITS/PRP$/B-NP/O INGREDIENTS/NNS/I-NP/O ARE/VBP/B-VP/O CONTINUALLY/NNP/B-NP/O RE-INCORPORATED/NNP/I-NP/O INTO/NNP/I-NP/O ACTIVE/NNP/I-NP/O METABOLIC/NNP/I-NP/O WEBS/NNP/I-NP/O THROUGH/NNP/I-NP/O CYCLES/NNP/I-NP/O OF/IN/B-PP/B-PNP LIFE/NNPS/B-NP/I-PNP AND/CC/I-NP/I-PNP DEATH/NNP/I-NP/I-PNP ././O/O'),\n", + " Sentence('MOST/JJS/B-NP/O DECEASED/NN/I-NP/O LIQUID/NN/I-NP/O MATTER/NNP/I-NP/O LIES/VBZ/B-VP/O QUIESCENT/NNP/B-NP/O ,/,/O/O PATIENTLY/NNP/B-NP/O WAITING/NNP/I-NP/O FOR/IN/B-PP/B-PNP ITS/PRP$/B-NP/I-PNP REANIMATION/NN/I-NP/I-PNP THROUGH/VBZ/B-VP/O THE/DT/B-NP/O PERSISTENT/NN/I-NP/O METABOLISMS/NNP/I-NP/O WITHIN/NNP/I-NP/O OUR/PRP$/I-NP/O SOILS/NNP/I-NP/O ././O/O'),\n", + " Sentence('LIQUID/JJ/B-NP/O LIFE/NNP/I-NP/O EXCEEDS/NNP/I-NP/O RHETORIC/NNP/I-NP/O ././O/O'),\n", + " Sentence(\"ITS/PRP$/B-NP/O CONCEPTS/NNP/I-NP/O CAN/VB/B-VP/O BE/VB/I-VP/O EMBODIED/NNP/B-NP/O AND/CC/I-NP/O EXPERIMENTALLY/NNP/I-NP/O TESTED/NNP/I-NP/O USING/NNP/I-NP/O A/DT/B-NP/O TRANS-DISCIPLINARY/NNP/I-NP/O APPROACH/NNP/I-NP/O ,/,/O/O WHICH/WDT/B-NP/O DRAWS/NNP/I-NP/O UPON/NNP/I-NP/O A/DT/B-NP/O RANGE/NNP/I-NP/O OF/IN/B-PP/B-PNP CONCEPTUAL/NNP/B-NP/I-PNP LENSES/NNS/I-NP/I-PNP AND/CC/O/O TECHNIQUES/JJ/B-ADJP/O TO/TO/O/O INVOLVE/NNP/B-NP/O THE/DT/I-NP/O LIQUID/NN/I-NP/O REALM/NNP/I-NP/O WITH/IN/B-PP/B-PNP ITS/PRP$/B-NP/I-PNP OWN/NN/I-NP/I-PNP ‘/''/O/O VOICE/NN/B-NP/O ’/''/O/O ././O/O\"),\n", + " Sentence('FROM/IN/B-PP/B-PNP THESE/NNP/B-NP/I-PNP PERSPECTIVES/NNP/I-NP/I-PNP LIQUID/NNP/I-NP/I-PNP TECHNOLOGIES/NNP/I-NP/I-PNP EMERGE/NNP/I-NP/I-PNP THAT/WDT/O/O ARE/VBP/B-VP/O CAPABLE/NNP/B-NP/O OF/IN/B-PP/B-PNP GENERATING/VBG/B-VP/I-PNP NEW/JJ/B-NP/I-PNP KINDS/NNP/I-NP/I-PNP OF/IN/B-PP/B-PNP ARTEFACTS/NNP/B-NP/I-PNP ,/,/O/O LIKE/IN/B-PP/B-PNP BÜTSCHLI/NNP/B-NP/I-PNP DROPLETS/NNP/I-NP/I-PNP ,/,/O/O WHICH/WDT/O/O ARE/VBP/B-VP/O LIQUID/NNP/B-NP/O CHEMICAL/NNP/I-NP/O ASSEMBLAGES/NNP/I-NP/O CAPABLE/NNP/I-NP/O OF/IN/B-PP/B-PNP SURPRISINGLY/NNP/B-NP/I-PNP LIFELIKE/NNP/I-NP/I-PNP BEHAVIOURS/NNP/I-NP/I-PNP ././O/O'),\n", + " Sentence('THESE/DT/B-NP/O AGENTS/NNP/I-NP/O EXCEED/NNP/I-NP/O RHETORIC/NNP/I-NP/O ,/,/O/O AS/NNP/B-NP/O THEY/NNP/I-NP/O POSSESS/NNP/I-NP/O THEIR/NNP/I-NP/O OWN/NNP/I-NP/O AGENCY/NNP/I-NP/O ,/,/O/O SEMIOTICS/NNP/B-NP/O ,/,/O/O AND/CC/O/O CHOREOGRAPHIC/NNP/B-NP/O IMPULSES/NNP/I-NP/O ,/,/O/O WHICH/WDT/O/O ALLOW/VBP/B-VP/O US/PRP/B-NP/O TO/TO/O/O VALUE/NNS/B-NP/O AND/CC/I-NP/O ENGAGE/NN/I-NP/O IN/IN/B-PP/B-PNP DISCOURSE/NNP/B-NP/I-PNP WITH/IN/B-PP/B-PNP THEM/NNP/B-NP/I-PNP ON/NNP/I-NP/I-PNP THEIR/NNP/I-NP/I-PNP TERMS/NNP/I-NP/I-PNP ././O/O'),\n", + " Sentence('THE/DT/B-NP/O DIFFICULTY/NN/I-NP/O AND/CC/O/O SLIPPAGES/NNP/B-NP/O IN/IN/B-PP/B-PNP MEANING/NNPS/B-NP/I-PNP AND/CC/I-NP/I-PNP VOLITION/NN/I-NP/I-PNP BETWEEN/NNP/I-NP/I-PNP PARTICIPATING/NNP/I-NP/I-PNP BODIES/NNPS/I-NP/I-PNP CREATES/NNP/I-NP/I-PNP THE/DT/B-NP/I-PNP POSSIBILITY/NN/I-NP/I-PNP OF/IN/B-PP/B-PNP EN/NNP/B-NP/I-PNP EVOLVING/NNP/I-NP/I-PNP POLY-VOCAL/NNP/I-NP/I-PNP DIALECTICS/NNP/I-NP/I-PNP ././O/O'),\n", + " Sentence('LIQUID/JJ/B-NP/O LIFE/NNP/I-NP/O PROVOKES/NNP/I-NP/O AN/DT/B-NP/O EXPANDED/NN/I-NP/O NOTION/NNP/I-NP/O OF/IN/B-PP/B-PNP CONSCIOUSNESS/NNP/B-NP/I-PNP ././O/O'),\n", + " Sentence(\"ITS/PRP$/B-NP/O ‘/''/O/O THINKING/NN/B-NP/O ’/''/O/O IS/VBZ/B-VP/O A/DT/B-NP/O MOLECULAR/NNP/I-NP/O SEA/NNP/I-NP/O OF/IN/B-PP/B-PNP POSSIBILITIES/NNS/B-NP/I-PNP THAT/WDT/B-NP/I-PNP RESIST/NNP/I-NP/I-PNP THE/DT/B-NP/I-PNP RAPID/NN/I-NP/I-PNP DECAY/NN/I-NP/I-PNP TOWARDS/NN/I-NP/I-PNP THERMODYNAMIC/NNP/I-NP/I-PNP EQUILIBRIUM/NNP/I-NP/I-PNP ././O/O\"),\n", + " Sentence('IN/IN/B-PP/B-PNP THESE/NNP/B-NP/I-PNP VITAL/NNP/I-NP/I-PNP MOMENTS/NNP/I-NP/I-PNP IT/PRP/I-NP/I-PNP INDULGES/VBZ/B-VP/O EVERY/NNP/B-NP/O POSSIBLE/NNP/I-NP/O TACTIC/NNP/I-NP/O TO/TO/O/O PERSIST/NNP/B-NP/O ,/,/O/O ACQUIRING/VBG/B-VP/O A/DT/B-NP/O RICH/NNP/I-NP/O PALETTE/NNP/I-NP/O OF/IN/B-PP/B-PNP NATURAL/NNP/B-NP/I-PNP RESOURCES/NNP/I-NP/I-PNP ,/,/O/O FOOD/NNP/B-NP/O SOURCES/NNP/I-NP/O ,/,/O/O WASTE/NNP/B-NP/O MATERIALS/NNP/I-NP/O ,/,/O/O AND/CC/O/O ENERGY/NNP/B-NP/O FIELDS/NNP/I-NP/O ././O/O'),\n", + " Sentence('THESE/DT/B-NP/O MATERIAL/NNP/I-NP/O ALLIANCES/NNP/I-NP/O NECESSITATE/NNP/I-NP/O DECISIONS/NNP/I-NP/O THAT/WDT/O/O DO/VB/B-VP/O NOT/RB/I-VP/O REQUIRE/VB/I-VP/O A/DT/B-NP/O COORDINATING/NN/I-NP/O CENTRE/NNP/I-NP/O ,/,/O/O LIKE/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP BRAIN/NNP/I-NP/I-PNP ././O/O'),\n", + " Sentence('LIQUID/JJ/B-ADJP/O ARE/VBP/B-VP/O NON-BODIES/NNP/B-NP/O ././O/O'),\n", + " Sentence('THEY/PRP/B-NP/O ARE/VBP/B-VP/O WITHOUT/NNP/B-NP/O FORMAL/NNP/I-NP/O BOUNDARIES/NNP/I-NP/O AND/CC/O/O ARE/VBP/B-VP/O CONSTANTLY/NNP/B-NP/O CHANGING/NNP/I-NP/O ././O/O'),\n", + " Sentence('LIQUID/JJ/B-NP/O BODIES/NNS/I-NP/O ARE/VBP/B-VP/O PARADOXICAL/NNP/B-NP/O STRUCTURES/NNP/I-NP/O THAT/WDT/B-NP/O POSSESS/NNP/I-NP/O THEIR/NNP/I-NP/O OWN/NNP/I-NP/O LOGIC/NNP/I-NP/O ././O/O'),\n", + " Sentence('ALTHOUGH/IN/B-PP/B-PNP CLASSICAL/NNP/B-NP/I-PNP LAWS/NNP/I-NP/I-PNP MAY/NNP/I-NP/I-PNP APPROXIMATE/NNP/I-NP/I-PNP THEIR/NNP/I-NP/I-PNP BEHAVIOUR/NNP/I-NP/I-PNP ,/,/O/O THEY/NNP/B-NP/O CANNOT/NNP/I-NP/O PREDICT/NNP/I-NP/O THEM/NNP/I-NP/O ././O/O'),\n", + " Sentence('THEY/PRP/B-NP/O ARE/VBP/B-VP/O TANGIBLE/NNP/B-NP/O EXPRESSIONS/NNP/I-NP/O OF/IN/B-PP/B-PNP NONLINEAR/NNP/B-NP/I-PNP MATERIAL/NNP/I-NP/I-PNP SYSTEMS/NNP/I-NP/I-PNP ,/,/O/O WHICH/WDT/O/O EXIST/VBP/B-VP/O OUTSIDE/JJ/B-ADJP/O OF/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP CURRENT/NN/I-NP/I-PNP FRAMES/NNP/I-NP/I-PNP OF/IN/B-PP/B-PNP REFERENCE/NN/B-NP/I-PNP THAT/WDT/B-NP/I-PNP OUR/PRP$/I-NP/I-PNP GLOBAL/NN/I-NP/I-PNP INDUSTRIAL/NN/I-NP/I-PNP CULTURE/NN/I-NP/I-PNP IS/VBZ/B-VP/O STEEPED/NNP/B-NP/O IN/IN/B-PP/O ././O/O'),\n", + " Sentence('ASPECTS/NNS/B-NP/O OF/IN/B-PP/B-PNP THEIR/NNP/B-NP/I-PNP EXISTENCE/NNP/I-NP/I-PNP STRAY/NNP/I-NP/I-PNP INTO/NNP/I-NP/I-PNP THE/DT/I-NP/I-PNP UNCONVENTIONAL/NNP/I-NP/I-PNP AND/CC/O/O LIMINAL/JJ/B-NP/O REALMS/NNP/I-NP/O OF/IN/B-PP/B-PNP AURAS/NNP/B-NP/I-PNP ,/,/O/O QUANTUM/NNP/B-NP/O PHYSICS/NNP/I-NP/O ,/,/O/O AND/CC/O/O ECTOPLASMS/NNP/B-NP/O ././O/O'),\n", + " Sentence('IN/IN/B-PP/B-PNP THESE/NNP/B-NP/I-PNP REALMS/NNP/I-NP/I-PNP THEY/NNP/I-NP/I-PNP CANNOT/NNP/I-NP/I-PNP BE/VB/B-VP/O APPRECIATED/NNP/B-NP/O BY/NNP/I-NP/O OBJECTIVE/NNP/I-NP/O MEASUREMENT/NNP/I-NP/O AND/CC/I-NP/O INVITE/NNPS/I-NP/O SUBJECTIVE/NNP/I-NP/O ENGAGEMENT/NNP/I-NP/O ,/,/O/O LIKE/IN/B-PP/B-PNP POETIC/NNP/B-NP/I-PNP TRYSTS/NNP/I-NP/I-PNP ././O/O'),\n", + " Sentence('THEIR/PRP$/B-NP/O DIVERSIONARY/NNP/I-NP/O TACTICS/NNP/I-NP/O GIVE/VBP/B-VP/O RISE/NN/B-NP/O TO/TO/O/O THE/DT/B-NP/O VERY/NN/I-NP/O ACTS/NNP/I-NP/O OF/IN/B-PP/B-PNP LIFE/NNP/B-NP/I-PNP ,/,/O/O SUCH/NNP/B-NP/O AS/NNP/I-NP/O THE/DT/I-NP/O CAPACITY/NNP/I-NP/O TO/TO/O/O HEAL/NNP/B-NP/O ,/,/O/O ADAPT/NNP/B-NP/O ,/,/O/O SELF-REPAIR/NNP/B-NP/O ,/,/O/O AND/CC/O/O EMPATHIZE/NNP/B-NP/O ././O/O'),\n", + " Sentence('LIQUID/JJ/B-NP/O BODIES/NNS/I-NP/O ARE/VBP/B-VP/O PLURI-PONTENT/NNP/B-NP/O ././O/O'),\n", + " Sentence('THEY/PRP/B-NP/O ARE/VBP/B-VP/O CAPABLE/NNP/B-NP/O OF/IN/B-PP/B-PNP MANY/JJ/B-NP/I-PNP ACTS/NNP/I-NP/I-PNP OF/IN/B-PP/B-PNP TRANSFORMATION/NNP/B-NP/I-PNP ././O/O'),\n", + " Sentence('THEY/PRP/B-NP/O DE-SIMPLIFY/NNP/I-NP/O THE/DT/I-NP/O MATTER/NNP/I-NP/O OF/IN/B-PP/B-PNP BEING/VBG/B-VP/I-PNP A/DT/B-NP/I-PNP BODY/NNP/I-NP/I-PNP THROUGH/NNP/I-NP/I-PNP THEIR/NNP/I-NP/I-PNP VISCERAL/NNP/I-NP/I-PNP ENTANGLEMENTS/NNP/I-NP/I-PNP ././O/O'),\n", + " Sentence('WHILE/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP BÊTE/NNP/I-NP/I-PNP MACHINE/NNP/I-NP/I-PNP DEPENDS/NNP/I-NP/I-PNP ON/NNP/I-NP/I-PNP AN/DT/B-NP/I-PNP ABSTRACTED/NN/I-NP/I-PNP UNDERSTANDING/NN/I-NP/I-PNP OF/IN/B-PP/B-PNP ANATOMY/NNP/B-NP/I-PNP FOUNDED/NNP/I-NP/I-PNP UPON/NNP/I-NP/I-PNP GENERALIZATIONS/NNP/I-NP/I-PNP AND/CC/I-NP/I-PNP IDEALS/NNPS/I-NP/I-PNP ,/,/O/O LIQUID/NNP/B-NP/O BODIES/NNP/I-NP/O RESIST/NNP/I-NP/O THESE/NNP/I-NP/O TROPES/NNP/I-NP/O ././O/O'),\n", + " Sentence(\"LIQUID/JJ/B-NP/O BODIES/NNP/I-NP/O DISCUSS/NNP/I-NP/O A/DT/B-NP/O MODE/NNP/I-NP/O OF/IN/B-PP/B-PNP EXISTENCE/NN/B-NP/I-PNP THAT/WDT/O/O IS/VBZ/B-VP/O CONSTANTLY/NNP/B-NP/O CHANGING/NNP/I-NP/O –/,/O/O NOT/RB/B-ADVP/O AS/NNP/B-NP/O THE/DT/B-NP/O CUMULATIVE/NNP/I-NP/O OUTCOMES/NNP/I-NP/O OF/IN/B-PP/O ‘/''/O/O ERROR/NN/B-NP/O ’/''/O/O –/,/O/O BUT/CC/O/O AS/NNP/B-NP/O A/DT/B-NP/O HIGHLY/NNP/I-NP/O CHOREOGRAPHED/NNP/I-NP/O AND/CC/O/O CONTINUOUS/NNP/B-NP/O SPECTRUM/NNP/I-NP/O STREAM/NNP/I-NP/O OF/IN/B-PP/B-PNP EVENTS/NN/B-NP/I-PNP THAT/WDT/O/O ARISE/VBP/B-VP/O FROM/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP PHYSICAL/NN/I-NP/I-PNP INTERACTIONS/NN/I-NP/I-PNP OF/IN/B-PP/B-PNP MATTER/NNP/B-NP/I-PNP ././O/O\"),\n", + " Sentence('THEY/PRP/B-NP/O INTERNALIZE/NNP/I-NP/O OTHER/NNP/I-NP/O BODIES/NNP/I-NP/O AS/NNP/I-NP/O MANIFOLDS/NNP/I-NP/O WITHIN/NNP/I-NP/O THEIR/NNP/I-NP/O SUBSTANCE/NNP/I-NP/O AND/CC/I-NP/O ASSERT/NNP/I-NP/O THEIR/NNP/I-NP/O IDENTITY/NNP/I-NP/O THROUGH/NNP/I-NP/O THEIR/NNP/I-NP/O ENVIRONMENTAL/JJ/B-NP/O CONTEXTS/NNP/I-NP/O ././O/O'),\n", + " Sentence('SUCH/JJ/B-NP/O ENTANGLEMENTS/NNP/I-NP/O INVOKE/NNP/I-NP/O MARGINAL/NNP/I-NP/O RELATIONS/NNP/I-NP/O BETWEEN/NNP/I-NP/O MULTIPLE/NNP/I-NP/O AGENCIES/NNS/I-NP/O AND/CC/O/O EXCEED/NNP/B-NP/O THE/DT/B-NP/O CLASSICAL/NNP/I-NP/O LOGIC/NNP/I-NP/O OF/IN/B-PP/B-PNP OBJECTS/NNP/B-NP/I-PNP ././O/O'),\n", + " Sentence('THEY/PRP/B-NP/O ARE/VBP/B-VP/O INSEPARABLE/NNP/B-NP/O FROM/IN/B-PP/B-PNP THEIR/NNP/B-NP/I-PNP CONTEXT/NNP/I-NP/I-PNP AND/CC/I-NP/I-PNP OFFER/JJ/I-NP/I-PNP WAYS/NNP/I-NP/I-PNP OF/IN/B-PP/B-PNP THINKING/NNPS/B-NP/I-PNP AND/CC/I-NP/I-PNP EXPERIMENTING/NN/I-NP/I-PNP WITH/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP CONVENTIONS/NNP/I-NP/I-PNP OF/IN/B-PP/B-PNP MAKING/VBG/B-VP/I-PNP AND/CC/O/O BEING/VBG/B-VP/O EMBODIED/NNP/B-NP/O ././O/O'),\n", + " Sentence('LIQUID/JJ/B-NP/O BODIES/NNP/I-NP/O INVITE/NNP/I-NP/O US/NNP/I-NP/O TO/TO/B-VP/O ARTICULATE/VB/I-VP/O THE/DT/B-NP/O FUZZINESS/NNP/I-NP/O ,/,/O/O PARADOXES/NNP/B-NP/O AND/CC/I-NP/O UNCERTAINTIES/NNS/I-NP/O OF/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP LIVING/NN/I-NP/I-PNP REALM/NNP/I-NP/I-PNP ././O/O'),\n", + " Sentence('THEY/PRP/B-NP/O ARE/VBP/B-VP/O STILL/NNP/B-NP/O INSTANTLY/NNP/I-NP/O RECOGNIZABLE/NNP/I-NP/O AND/CC/O/O CAN/VB/B-VP/O BE/VB/I-VP/O NAMED/NNP/B-NP/O AS/NNP/I-NP/O TORNADO/NNP/I-NP/O ,/,/O/O CIRRUS/NNP/B-NP/O ,/,/O/O SOIL/NNP/B-NP/O ,/,/O/O EMBRYO/NNP/B-NP/O ,/,/O/O OR/CC/O/O BIOFILM/NNP/B-NP/O ././O/O'),\n", + " Sentence('THESE/DT/B-NP/O CONTRADICTIONS/NNP/I-NP/O –/,/O/O OF/IN/B-PP/B-PNP FORM/NNP/B-NP/I-PNP AND/CC/I-NP/I-PNP CONSTANCY/NNP/I-NP/I-PNP –/,/O/O ENCOURAGE/NNP/B-NP/O ALTERNATIVE/NNP/I-NP/O READINGS/NNP/I-NP/O OF/IN/B-PP/B-PNP HOW/NNP/B-NP/I-PNP WE/PRP/I-NP/I-PNP ORDER/NNP/I-NP/I-PNP AND/CC/I-NP/I-PNP SORT/NNP/I-NP/I-PNP THE/DT/B-NP/I-PNP WORLD/NN/I-NP/I-PNP ,/,/O/O WHOSE/NNP/B-NP/O MAIN/NNP/I-NP/O METHODOLOGY/NNP/I-NP/O IS/VBZ/B-VP/O THROUGH/NNP/B-NP/O RELATING/NNP/I-NP/O ONE/CD/I-NP/O BODY/NNP/I-NP/O TO/TO/O/O ANOTHER/NNP/B-NP/O ././O/O'),\n", + " Sentence(\"INDEED/RB/B-ADVP/O ,/,/O/O PROTEAN/NNP/B-NP/O LIQUID/NNP/I-NP/O BODIES/NNP/I-NP/O HELP/NNP/I-NP/O US/NNP/I-NP/O UNDERSTAND/NNP/I-NP/O THAT/WDT/O/O WHILE/VBP/B-VP/O UNIVERSALISMS/NNP/B-NP/O ,/,/O/O AVERAGES/NNP/B-NP/O AND/CC/I-NP/O GENERALIZATIONS/NNS/I-NP/O ARE/VBP/B-VP/O USEFUL/NNP/B-NP/O IN/IN/B-PP/B-PNP PRODUCING/NN/B-NP/I-PNP MAPS/NNP/I-NP/I-PNP OF/IN/B-PP/B-PNP OUR/PRP$/B-NP/I-PNP BEING/VBG/B-VP/I-PNP IN/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP WORLD/NN/I-NP/I-PNP ,/,/O/O THEY/NNP/B-NP/O NEGLECT/NNP/I-NP/O SPECIFIC/NNP/I-NP/O DETAILS/NNP/I-NP/O ,/,/O/O WHICH/WDT/O/O ‘/''/O/O BRING/VB/B-VP/O FORTH/NNP/B-NP/O ’/''/O/O THE/DT/B-NP/O MATERIALITY/NNP/I-NP/O OF/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP ENVIRONMENT/NN/I-NP/I-PNP ././O/O\"),\n", + " Sentence('LIQUID/JJ/B-NP/O BODIES/NNS/I-NP/O ARE/VBP/B-VP/O POLITICAL/JJ/B-NP/O AGENTS/NNP/I-NP/O ././O/O'),\n", + " Sentence('THEY/PRP/B-NP/O RE-DEFINE/NNP/I-NP/O THE/DT/I-NP/O BOUNDARIES/NNPS/I-NP/O AND/CC/O/O CONDITIONS/NNS/B-NP/O FOR/IN/B-PP/B-PNP EXISTENCE/NNP/B-NP/I-PNP IN/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP CONTEXT/NNP/I-NP/I-PNP OF/IN/B-PP/B-PNP DYNAMIC/NNP/B-NP/I-PNP ,/,/O/O UNRULY/NNP/B-NP/O ENVIRONMENTS/NNP/I-NP/O ././O/O'),\n", + " Sentence('THEY/PRP/B-NP/O PROPOSE/VB/B-VP/O ALTERNATIVE/NNP/B-NP/O MODES/NNP/I-NP/O OF/IN/B-PP/B-PNP LIVING/NN/B-NP/I-PNP THAT/WDT/O/O ARE/VBP/B-VP/O RADICALLY/NNP/B-NP/O TRANSFORMED/NNP/I-NP/O ,/,/O/O MONSTROUS/NNP/B-NP/O ,/,/O/O COHERENT/NNP/B-NP/O ,/,/O/O RAW/NNP/B-NP/O –/,/O/O AND/CC/O/O SELECTIVELY/NNPS/B-NP/O PERMEATED/NNP/I-NP/O BY/NNP/I-NP/O THEIR/NNP/I-NP/O NURTURING/NNP/I-NP/O MEDIA/NNP/I-NP/O ././O/O'),\n", + " Sentence('LIQUID/JJ/B-NP/O BODIES/NNP/I-NP/O INVITE/NNP/I-NP/O US/NNP/I-NP/O TO/TO/B-VP/O UNDERSTAND/VB/I-VP/O OUR/PRP$/B-NP/O BEING/VBG/B-VP/O BEYOND/NNP/B-NP/O RELATIONAL/NNP/I-NP/O THINKING/NNP/I-NP/O AND/CC/I-NP/O INVENT/NNPS/I-NP/O MONSTERS/NNS/I-NP/O THAT/WDT/B-NP/O DEFY/NNP/I-NP/O ALL/PDT/B-NP/O EXISTING/NN/I-NP/O FORMS/NNP/I-NP/O OF/IN/B-PP/B-PNP CATEGORIZATION/NNP/B-NP/I-PNP TO/TO/B-VP/O MAKE/VB/I-VP/O POSSIBLE/NNP/B-NP/O A/DT/I-NP/O NEW/NNP/I-NP/O KIND/NNP/I-NP/O OF/IN/B-PP/B-PNP CORPOREALITY/NNP/B-NP/I-PNP ././O/O'),\n", + " Sentence(\"THEY/PRP/B-NP/O ARE/VBP/B-VP/O WHAT/NNP/B-NP/O REMAIN/NNP/I-NP/O WHEN/WRB/O/O MECHANICAL/JJ/B-NP/O EXPLANATIONS/NN/I-NP/O CAN/VB/B-VP/O NO/UH/O/O LONGER/JJ/B-NP/O ACCOUNT/NN/I-NP/O FOR/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP EXPERIENCES/NN/I-NP/I-PNP THAT/WDT/B-NP/I-PNP WE/PRP/I-NP/I-PNP RECOGNISE/NNP/I-NP/I-PNP AS/NNP/I-NP/I-PNP ‘/''/O/O BEING/VBG/B-VP/O ALIVE/NNP/B-NP/O ././O/O\"),\n", + " Sentence(\"’/''/O/O\"),\n", + " Sentence('“/\"/O/O LIQUID/NN/B-NP/O LIFE/NN/I-NP/O ARISES/NNP/I-NP/O FROM/IN/B-PP/B-PNP OUT/IN/I-PP/I-PNP OF/IN/I-PP/I-PNP A/DT/B-NP/I-PNP SOUP/NNP/I-NP/I-PNP ,/,/O/O SMOG/NNP/B-NP/O ,/,/O/O A/DT/B-NP/O SCAB/NNP/I-NP/O ,/,/O/O FIRE/NNP/B-NP/O –/,/O/O WHERE/WRB/O/O THE/DT/B-NP/O INCANDESCENT/NN/I-NP/O HEAVENS/NNP/I-NP/O RAIN/NNP/I-NP/O MOLTEN/NNP/I-NP/O ROCK/NNP/I-NP/O AND/CC/O/O ALKALI/NNP/B-NP/O MEETS/NNP/I-NP/O OIL/NNP/I-NP/O –/,/O/O A/DT/B-NP/O CHOREOGRAPHY/NNP/I-NP/O OF/IN/B-PP/B-PNP PRIMORDIAL/NNP/B-NP/I-PNP METABOLIC/NNP/I-NP/I-PNP FLAMES/NNP/I-NP/I-PNP ././O/O'),\n", + " Sentence('AMIDST/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP REDUCING/NN/I-NP/I-PNP ATMOSPHERE/NNP/I-NP/I-PNP OF/IN/B-PP/B-PNP CHOKING/NN/B-NP/I-PNP TOXIC/VBZ/B-VP/O GASES/NNP/B-NP/O ,/,/O/O ITS/PRP$/B-NP/O COMING-INTO-BEING/NN/I-NP/O DRAWS/NN/I-NP/O MOMENTARILY/NNP/I-NP/O INTO/NNP/I-NP/O FOCUS/NNP/I-NP/O AND/CC/I-NP/O RECEDES/NNP/I-NP/O AGAIN/RB/B-ADVP/O ././O/O'),\n", + " Sentence('THE/DT/B-NP/O UNFATHOMABLE/NNP/I-NP/O DARKNESS/NNP/I-NP/O OF/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP HADEAN/NNP/I-NP/I-PNP EPOCH/NNP/I-NP/I-PNP IS/VBZ/B-VP/O REINCARNATED/NNP/B-NP/O HERE/NNP/I-NP/O ././O/O'),\n", + " Sentence('IT/PRP/B-NP/O IS/VBZ/B-VP/O DRENCHED/NNP/B-NP/O IN/IN/B-PP/B-PNP THICK/NNP/B-NP/I-PNP GAS/NNP/I-NP/I-PNP CLOUDS/NNP/I-NP/I-PNP ,/,/O/O UNWEATHERED/NNP/B-NP/O DUSTS/NNP/I-NP/O ,/,/O/O AND/CC/O/O PUNGENT/JJ/B-NP/O VAPOURS/NNP/I-NP/O ,/,/O/O WHICH/WDT/O/O OBFUSCATE/VBP/B-VP/O THE/DT/B-NP/O LIGHT/NN/I-NP/O ././O/O'),\n", + " Sentence(\"THE/DT/B-NP/O INSULATING/NN/I-NP/O BLANKET/NNP/I-NP/O OF/IN/B-PP/B-PNP GASEOUS/NNP/B-NP/I-PNP POISONS/NNP/I-NP/I-PNP PROTECTS/NNP/I-NP/I-PNP THE/DT/I-NP/I-PNP LAND/NNP/I-NP/I-PNP AGAINST/NNP/I-NP/I-PNP THE/DT/B-NP/I-PNP CRUEL/NNP/I-NP/I-PNP STARE/NNP/I-NP/I-PNP OF/IN/B-PP/B-PNP ULTRAVIOLET/NNP/B-NP/I-PNP RAYS/NNP/I-NP/I-PNP AND/CC/I-NP/I-PNP IONIZING/NNPS/I-NP/I-PNP SPACE/NNPS/I-NP/I-PNP RADIATION/NNP/I-NP/I-PNP ,/,/O/O WHICH/WDT/B-NP/O SPITE/NNP/I-NP/O THE/DT/B-NP/O EARTH/NNP-LOC/I-NP/O ’/''/O/O S/NNP/B-NP/O SURFACE/NNP/I-NP/O ././O/O\"),\n", + " Sentence('OUT/IN/B-PP/B-PNP OF/IN/I-PP/I-PNP THESE/NNP/B-NP/I-PNP VOLATILE/NNP/I-NP/I-PNP CAUSTIC/NNP/I-NP/I-PNP BODIES/NNP/I-NP/I-PNP ,/,/O/O A/DT/B-NP/O SUCCESSION/NNP/I-NP/O OF/IN/B-PP/B-PNP CHEMICAL/NNP/B-NP/I-PNP GHOSTS/NNP/I-NP/I-PNP HAUNTS/NNP/I-NP/I-PNP THE/DT/I-NP/I-PNP HEAVY/JJ/I-NP/I-PNP ATMOSPHERE/NNP/I-NP/I-PNP ././O/O'),\n", + " Sentence('HERE/RB/B-ADVP/O ,/,/O/O IMAGINARY/NNP/B-NP/O FIGURES/NNP/I-NP/O ,/,/O/O LIKE/IN/B-PP/O THOSE/DT/O/O THAT/WDT/O/O APPEAR/VBP/B-VP/O IN/IN/B-PP/B-PNP A/DT/B-NP/I-PNP FEVERED/JJ/I-NP/I-PNP CONDITION/NNP/I-NP/I-PNP ,/,/O/O SPLIT/NNP/B-NP/O FAINT/NNP/I-NP/O LIGHT/NNP/I-NP/O AROUND/NNP/I-NP/O ././O/O'),\n", + " Sentence('THEY/PRP/B-NP/O WANDER/VBP/B-VP/O AMONG/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP AURAS/NNP/I-NP/I-PNP OF/IN/B-PP/B-PNP TURBULENT/NNP/B-NP/I-PNP INTERFACES/NNPS/I-NP/I-PNP AND/CC/I-NP/I-PNP THICKENING/JJ/I-NP/I-PNP DENSITIES/NNPS/I-NP/I-PNP OF/IN/B-PP/B-PNP MATTER/NNP/B-NP/I-PNP ,/,/O/O SCUM/NNP/B-NP/O AND/CC/I-NP/O CRUST/NNP/I-NP/O ././O/O'),\n", + " Sentence('OVER/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP COURSE/NNP/I-NP/I-PNP OF/IN/B-PP/B-PNP HALF/NNP/B-NP/I-PNP A/DT/I-NP/I-PNP BILLION/NN/I-NP/I-PNP YEARS/NNS/I-NP/I-PNP ,/,/O/O SUDDEN/NNP/B-NP/O ECTOPLASMS/NNP/I-NP/O SPEW/NNP/I-NP/O IN/IN/B-PP/B-PNP SUCCESSIVE/NNP/B-NP/I-PNP ACTS/NNP/I-NP/I-PNP OVER/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP DARKENED/NN/I-NP/I-PNP THEATRE/NNP/I-NP/I-PNP OF/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP PLANET/NNP/I-NP/I-PNP ././O/O'),\n", + " Sentence('CHARGED/VBN/B-VP/O SKIES/NNS/B-NP/O ,/,/O/O ENLIVENED/NNP/B-NP/O BY/NNP/I-NP/O THE/DT/I-NP/O IONIC/NN/I-NP/O ELECTRICITY/NNP/I-NP/O OF/IN/B-PP/B-PNP FLUIDS/NNP/B-NP/I-PNP AND/CC/I-NP/I-PNP PERIODICALLY/NNP/I-NP/I-PNP LIT/NNP/I-NP/I-PNP WITH/IN/B-PP/B-PNP PHOTON/NNP/B-NP/I-PNP CUTS/NNP/I-NP/I-PNP ,/,/O/O STRIKE/NNP/B-NP/O BLOWS/NNP/I-NP/O INTO/NNP/I-NP/O THE/DT/I-NP/O GROUND/NNP/I-NP/O TO/TO/O/O BEGIN/NNP/B-NP/O THE/DT/I-NP/O PROCESS/NN/I-NP/O OF/IN/B-PP/B-PNP CHEMICAL/NNP/B-NP/I-PNP EVOLUTION/NNP/I-NP/I-PNP ././O/O'),\n", + " Sentence('DANCING/NN/B-NP/O UNDER/IN/B-PP/B-PNP IONIC/NNP/B-NP/I-PNP WINDS/NNP/I-NP/I-PNP ELECTRIC/NNP/I-NP/I-PNP STORMS/NNP/I-NP/I-PNP SCRATCH/NNP/I-NP/I-PNP AT/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP EARTH/NNP-LOC/I-NP/I-PNP AND/CC/O/O CHARGED/NNP/B-NP/O TENDRILS/NNP/I-NP/O OF/IN/B-PP/B-PNP MATTER/NNP/B-NP/I-PNP STAND/NNP/I-NP/I-PNP ON/NNP/I-NP/I-PNP THEIR/NNP/I-NP/I-PNP END/NNP/I-NP/I-PNP ././O/O'),\n", + " Sentence('VULGAR/JJ/B-ADJP/O IN/IN/B-PP/B-PNP ITS/PRP$/B-NP/I-PNP BECOMING/NN/I-NP/I-PNP ,/,/O/O THE/DT/B-NP/O BLUBBER/NNP/I-NP/O SLOBBERS/NNP/I-NP/O ON/NNP/I-NP/O BIOMASS/NNP/I-NP/O WITH/IN/B-PP/B-PNP CARBOHYDRATE/NNP/B-NP/I-PNP TEETH/NNP/I-NP/I-PNP ,/,/O/O DROOLING/NNP/B-NP/O ENZYMES/NNP/I-NP/O THAT/WDT/O/O DIGEST/VBP/B-VP/O NOTHING/NN/B-NP/O BUT/CC/I-NP/O ITS/PRP$/I-NP/O OWN/NNP/I-NP/O BITE/NNP/I-NP/O ././O/O'),\n", + " Sentence('ENERGETICALLY/RB/B-ADVP/O INCONTINENT/NNP/B-NP/O ,/,/O/O IT/PRP/B-NP/O ACQUIRES/NNP/I-NP/O A/DT/I-NP/O COLD/NNP/I-NP/O METABOLISM/NNP/I-NP/O AND/CC/O/O A/DT/B-NP/O WATERY/NNP/I-NP/O HEART/NNP/I-NP/O ././O/O'),\n", + " Sentence('EXPANDING/VBG/B-VP/O AND/CC/O/O CONTACTING/NN/B-NP/O ,/,/O/O IT/PRP/B-NP/O STARTS/NNP/I-NP/O TO/TO/O/O PUMP/NNP/B-NP/O UNIVERSAL/NNP/I-NP/O SOLVENT/NNP/I-NP/O THROUGH/NNP/I-NP/O ITS/PRP$/I-NP/O LIQUID/NN/I-NP/O EYES/NNP/I-NP/O ,/,/O/O LENSING/VBG/B-VP/O ERRANT/NNP/B-NP/O LIGHT/NNP/I-NP/O INTO/NNP/I-NP/O ITS/PRP$/I-NP/O DARK/NNP/I-NP/O THOUGHTS/NNP/I-NP/O ././O/O'),\n", + " Sentence(\"MINDLESS/JJ/B-ADJP/O ,/,/O/O YET/NN/B-NP/O FINELY/NNP/I-NP/O TUNED/NNP/I-NP/O TO/TO/O/O ITS/PRP$/B-NP/O CONTEXT/NNP/I-NP/O ,/,/O/O IT/PRP/B-NP/O WRIGGLES/VBP/B-VP/O UPON/JJ/B-NP/O TIME/NN/I-NP/O ’/''/O/O S/NNP/B-NP/O COMPOST/NNP/I-NP/O ,/,/O/O CHEWING/VBG/B-VP/O AND/CC/O/O CHEWING/VBG/B-VP/O WITH/IN/B-PP/B-PNP ITS/PRP$/B-NP/I-PNP BONELESS/NNP/I-NP/I-PNP JAWS/NNP/I-NP/I-PNP ON/NNP/I-NP/I-PNP NOTHING/NNP/I-NP/I-PNP BUT/CC/I-NP/I-PNP THE/DT/I-NP/I-PNP AGENTS/NNP/I-NP/I-PNP OF/IN/B-PP/B-PNP DEATH/NNP/B-NP/I-PNP ././O/O\"),\n", + " Sentence('IN/IN/B-PP/B-PNP ITS/PRP$/B-NP/I-PNP STRUCTURAL/NNP/I-NP/I-PNP DISOBEDIENCE/NNP/I-NP/I-PNP ,/,/O/O THE/DT/B-NP/O MISSHAPEN/NNP/I-NP/O MASS/NNP/I-NP/O STEADILY/NNP/I-NP/O GROWS/VBZ/B-VP/O MORE/NNP/B-NP/O ORGANIZED/VBN/B-VP/O AND/CC/O/O RELUCTANT/JJ/B-ADJP/O TO/TO/O/O SUCCUMB/NNP/B-NP/O TO/TO/O/O DECAY/NNP/B-NP/O ././O/O'),\n", + " Sentence('PATTERNING/VBG/B-VP/O THE/DT/B-NP/O AIR/NNP/I-NP/O ,/,/O/O ITS/PRP$/B-NP/O FINGERS/NNS/I-NP/O EXTEND/VB/B-VP/O LIKE/IN/B-PP/B-PNP CLAWS/NNP/B-NP/I-PNP ,/,/O/O OBSTRUCTING/NNP/B-NP/O ITS/PRP$/I-NP/O PASSAGE/NN/I-NP/O BETWEEN/NNP/I-NP/O THE/DT/I-NP/O POLES/NNS/I-NP/O OF/IN/B-PP/B-PNP OBLIVION/NNP/B-NP/I-PNP ././O/O'),\n", + " Sentence('CARESSING/VBG/B-VP/O ITSELF/NNS/B-NP/O IN/IN/B-PP/B-PNP GRATUITOUS/NNP/B-NP/I-PNP ACTS/NNP/I-NP/I-PNP OF/IN/B-PP/B-PNP PROCREATION/NNP/B-NP/I-PNP ,/,/O/O THE/DT/B-NP/O DAUB/NN/I-NP/O OFFERS/NNS/I-NP/O CONTEMPT/VB/B-VP/O FOR/IN/B-PP/B-PNP THE/DT/B-NP/I-PNP FORCES/NNS/I-NP/I-PNP OF/IN/B-PP/B-PNP DISORDER/NN/B-NP/I-PNP ,/,/O/O AND/CC/O/O CRAWLS/NNP/B-NP/O STEADILY/NNP/I-NP/O TOWARDS/NNP/I-NP/O BEING/VBG/B-VP/O ././O/O'),\n", + " Sentence('”/\"/O/O')]" + ] + }, + "execution_count": 19, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "tree" + ] + }, + { + "cell_type": "code", + "execution_count": 20, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "Sentence('IT/PRP/B-NP/O IS/VBZ/B-VP/O MORE/NNP/B-NP/O THAN/IN/B-PP/O A/DT/O/O SET/VBD/B-VP/O OF/IN/B-PP/B-PNP PARTICULAR/NNP/B-NP/I-PNP MATERIALS/NNP/I-NP/I-PNP THAT/WDT/B-NP/I-PNP COMPRISE/NNP/I-NP/I-PNP A/DT/B-NP/I-PNP RECOGNIZABLE/NNP/I-NP/I-PNP BODY/NNP/I-NP/I-PNP ././O/O')" + ] + }, + "execution_count": 20, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "tree[7]" + ] + }, + { + "cell_type": "code", + "execution_count": 21, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "[Match(words=[Word('LIQUID/JJ')]),\n", + " Match(words=[Word('SUBJECTIVE/JJ')]),\n", + " Match(words=[Word('LIQUID/JJ')]),\n", + " Match(words=[Word('LIQUID/JJ')]),\n", + " Match(words=[Word('LIQUID/JJ')]),\n", + " Match(words=[Word('TECHNIQUES/JJ')]),\n", + " Match(words=[Word('NEW/JJ')]),\n", + " Match(words=[Word('LIQUID/JJ')]),\n", + " Match(words=[Word('LIQUID/JJ')]),\n", + " Match(words=[Word('LIQUID/JJ')]),\n", + " Match(words=[Word('OUTSIDE/JJ')]),\n", + " Match(words=[Word('LIMINAL/JJ')]),\n", + " Match(words=[Word('LIQUID/JJ')]),\n", + " Match(words=[Word('MANY/JJ')]),\n", + " Match(words=[Word('LIQUID/JJ')]),\n", + " Match(words=[Word('ENVIRONMENTAL/JJ')]),\n", + " Match(words=[Word('SUCH/JJ')]),\n", + " Match(words=[Word('OFFER/JJ')]),\n", + " Match(words=[Word('LIQUID/JJ')]),\n", + " Match(words=[Word('LIQUID/JJ')]),\n", + " Match(words=[Word('POLITICAL/JJ')]),\n", + " Match(words=[Word('LIQUID/JJ')]),\n", + " Match(words=[Word('MECHANICAL/JJ')]),\n", + " Match(words=[Word('LONGER/JJ')]),\n", + " Match(words=[Word('PUNGENT/JJ')]),\n", + " Match(words=[Word('HEAVY/JJ')]),\n", + " Match(words=[Word('FEVERED/JJ')]),\n", + " Match(words=[Word('THICKENING/JJ')]),\n", + " Match(words=[Word('VULGAR/JJ')]),\n", + " Match(words=[Word('MINDLESS/JJ')]),\n", + " Match(words=[Word('UPON/JJ')]),\n", + " Match(words=[Word('RELUCTANT/JJ')])]" + ] + }, + "execution_count": 21, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "search(\"JJ\", tree)" + ] + }, + { + "cell_type": "code", + "execution_count": 22, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "[Match(words=[Word('REQUIRE/VB'), Word('A/DT'), Word('COORDINATING/NN')])]" + ] + }, + "execution_count": 22, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "search('VB DT NN', tree)" + ] + }, + { + "cell_type": "code", + "execution_count": 23, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "REQUIRE A COORDINATING\n" + ] + } + ], + "source": [ + "for m in search (\"VB DT NN\", tree):\n", + " print (f\"{m.string}\")" + ] + }, + { + "cell_type": "code", + "execution_count": 24, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "'REQUIRE A COORDINATING'" + ] + }, + "execution_count": 24, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "m.string" + ] + }, + { + "cell_type": "code", + "execution_count": 25, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "ITS POTENTIAL\n", + "OUR ABILITY\n", + "ITS COHERENCE THROUGH THE LIVES\n", + "OUR (\n", + "OUR UNIQUE PLANETARY CONDITIONS\n", + "ITS INGREDIENTS\n", + "ITS REANIMATION\n", + "OUR SOILS\n", + "ITS CONCEPTS\n", + "ITS OWN\n", + "ITS ‘\n", + "OUR GLOBAL INDUSTRIAL CULTURE\n", + "THEIR DIVERSIONARY TACTICS\n", + "OUR BEING\n", + "OUR BEING\n", + "ITS COMING-INTO-BEING DRAWS MOMENTARILY INTO FOCUS AND RECEDES\n", + "ITS BECOMING\n", + "ITS OWN BITE\n", + "ITS LIQUID EYES\n", + "ITS DARK THOUGHTS\n", + "ITS CONTEXT\n", + "ITS BONELESS JAWS ON NOTHING BUT THE AGENTS\n", + "ITS STRUCTURAL DISOBEDIENCE\n", + "ITS FINGERS\n", + "ITS PASSAGE BETWEEN THE POLES\n" + ] + } + ], + "source": [ + "for m in search (\"PRP$ *\", tree):\n", + " print (f\"{m.string}\")" + ] + }, + { + "cell_type": "code", + "execution_count": 10, + "metadata": {}, + "outputs": [], + "source": [ + "from pattern.en import wordnet" + ] + }, + { + "cell_type": "code", + "execution_count": 11, + "metadata": {}, + "outputs": [], + "source": [ + "sense = wordnet.synsets(\"language\")[0]" + ] + }, + { + "cell_type": "code", + "execution_count": 12, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "Synset('communication.n.02')" + ] + }, + "execution_count": 12, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "sense.hypernym" + ] + }, + { + "cell_type": "code", + "execution_count": 13, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "matching DECEASED\n" + ] + } + ], + "source": [ + "output = []\n", + "search_word=\"person\"\n", + "for search_word in search_word.split('|'):\n", + " synset = wordnet.synsets(search_word)[0]\n", + " pos = synset.pos\n", + " possible_words = search(pos, tree)\n", + " for match in possible_words:\n", + " # print (f\"match {match}\")\n", + " word = match[0].string\n", + " synsets = wordnet.synsets(word)\n", + " if len(synsets) > 0:\n", + " hypernyms = synsets[0].hypernyms(recursive=True)\n", + " if any(search_word == h.senses[0] for h in hypernyms):\n", + " print(f\"matching {word}\")\n", + " output.append(word)" + ] + }, + { + "cell_type": "code", + "execution_count": 14, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "['DECEASED']" + ] + }, + "execution_count": 14, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "output" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + } + ], + "metadata": { + "kernelspec": { + "display_name": "Python 3", + "language": "python", + "name": "python3" + }, + "language_info": { + "codemirror_mode": { + "name": "ipython", + "version": 3 + }, + "file_extension": ".py", + "mimetype": "text/x-python", + "name": "python", + "nbconvert_exporter": "python", + "pygments_lexer": "ipython3", + "version": "3.7.3" + } + }, + "nbformat": 4, + "nbformat_minor": 4 +} diff --git a/LIQUID/ascii.html b/LIQUID/ascii.html new file mode 100644 index 0000000..e69de29 diff --git a/LIQUID/draft.html b/LIQUID/draft.html new file mode 100644 index 0000000..5b1135b --- /dev/null +++ b/LIQUID/draft.html @@ -0,0 +1,193 @@ + + + + + + + ORIGINAL TEXT + + + + + + + + + +

+LIQUID | Rachel Armstrong +

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My reclaimed word for the 21st century is liquid – specifically in relationship to the character of life – and as a counterpoint to the machine metaphor: the philosophical and scientific idea that the whole universe and everything in it can be understood as mechanisms, composed of the sum of fundamental components, which are hierarchically organised to perform work in a logical and predictable way.

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Dualism
Rene Descartes’ Treatise of Man, described conceptual models of humans that were made up of fundamental elements – a non-thinking body and a thinking soul – which could exist independently from one another. He extracted the rational soul from the body in order to remove any element of mentality. In this way, the geometrical nature of bodies could be more exactly described by a new physics that reduced all natural change to the local motion of material particles. The body, denuded of the soul and mind, became known as the Animal Machine (or Bête Machine). Yet Descartes neglected to characterise the nature of the soul in more than its barest details. He considered it a mysterious substance where ‘the animal spirits' R flowed from the pineal gland (the principle seat of the soul) through a network of vessels (neurons) like air. However, Descartes never developed a final theory about the relationship between the body and the soul. This brilliantly simple act of dualism created the foundations of modernity, providing the framework for scientific developments and technological advancements during the Enlightenment. The ‘beauty’ of a machine is that it represents a framework for thinking and simultaneously embodies a technical system. It therefore shaped a worldview that considered matter as inert – without innate energy – and required animation through external agencies if it was to act. So, to animate a machine, energy, process, or spirit, is needed. Objects must reconnect with flow if they are to be lively – they need a relationship with liquids – and we have denied them the full range of these abilities.

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Flux
The pre-Socrates philosopher Heraclitus first expressed the idea of reality being in constant movement in his adage Panta Rhei: “everything flows, nothing stays.” Finally, over the course of the 20th century it was increasingly understood again that the world is situated within a condition of flux. Thinkers and innovators have responded to the liquid qualities of the world through significant shifts in our ways of thinking. For example, Ludwig von Bertalanffy’s notion of general systems theory informed the field of cybernetics – the scientific study of control and communication in the animal and the machine. Alfred North Whitehead’s focus on process placed dynamic events at the core of living phenomena,and Timothy Morton’s search for designing with metabolism – to generate ‘straightforward’ environmental images 1 – aims to bypass translation P of processual events through modes of representation. In this realm of constant change, the machine metaphor describes reality incompletely. As much as liquids have been conjured into our language in an attempt to find a better metaphorical framework to characterise ‘life’, progress has been rhetorical, as liquids themselves are not imagined or readily applied as technologies. Fluids may power machines, lubricate them, or be consumed by them. However, the behaviour of liquids is so rich and complex, that the toolsets we possess to manipulate them do not offer sufficient precision to rival mechanical potency. How can we think through liquids in ways that not only describe our present reality, but also conjure into existence an occult performativity of the material realm that acts upon the present as well as helps to imagine and shape the future?

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Ever-changing
Conventionally, the extraordinary properties of liquids have provoked a sense of erasure, featurelessness monstrosity – in the sense they exceed our capacity to rationalise and control them by applying our modern perspectives. Liquid bodies continually T rise, undulate, entangle, fall, and exist within watery landscapes. They are often so entangled with their surroundings that it is almost impossible to see them; for neither our natural senses, nor concepts, fully convey their ever-changing nature. Defying classical conventions of organization and behaviour, liquid matter is fundamentally lively. It also simultaneously permeates and is infiltrated by its surroundings. Claude Lévi-Strauss regards the sea as uninspiring, while Roland Barthes views the ocean as a non-signifying field that bears no message. Yet, Michel Serres embraces the details of liquid bodies, specifically the subversive “nautical murmur” of the sea, which he regards as a symptom of its disturbing, pervasive vitality: “It [the sea] is at the boundaries of physics, and physics is bathed in it, it lies under the cuttings of all phenomena, a Proteus taking on any shape, the matter and flesh of manifestations. The noise — intermittence and turbulence — quarrel and racket — this sea noise is the originating rumour and murmuring, the original hate.” 2

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Liquid bodies are anything but banal; they are subversive, resisting control, atomization, and, ultimately, mechanization. Their fundamental unpredictability and unruly multi-potentiality evades our tendency to control and subordinate it to human desire – even when industrial apparatuses are used. Indeed, we are required to continually negotiate our terms of engagement with such liquid bodies and find ourselves ill equipped to quell their monstrous transformations, or impose order upon their undifferentiated expanses. Although these rebellious characteristics are palpable, to go beyond metaphorical rhetoric requires their material nature to be ‘named.’ For example, they may be recognised as fields, like ‘badlands,’ as reported by fishermen, where it is difficult to navigate the water. Another example are interfaces: where oil meets water and lifelike patterns emerge, which are reminiscent of jellyfish or worms. In this way, an actual dialogue may begin that embraces the complexity and character of the liquid realm.

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In an age of instability, where matter is at the edge of chaos, liquids persistently respond to uncertain terrains by exhibiting dynamic patterns and structures. Think of a whirlpool or tornado where repetitions of processes within a site confer persistence upon a structure, rather than being obedient to the absolute position or configuration of atoms. The operative agents of this realm are ‘paradoxical’ objects3 that are made up of the constant flow of matter and energy. These structures can occur at many different scales and become increasingly complex with time. They do not only act independently but can also collaborate, linking together like hurricanes, to form massively distribute hubs of activity across the surface of the planet. Such hyper-structures not only form weather fronts, but also manifest as soils and forests, which exist in many niches and at multiple scales through the metabolic activity of a web of beings. Collectively, they contribute to the active forces of nature.O

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Liquid life
The notion of liquid life draws attention to alternative pathways that are self-organizing and self-sustaining. Liquids that ‘act’ through their own agency may open up opportunities to work with the natural realm in new ways, by thinking along, with, and through liquids – both as a metaphor and as a technology. In this way ideas can be tested, refined, and developed towards particular dreams, challenges, and futures. Such expanded perspectives also engage with alternative power and identity relationships that move towards inclusive, horizontal interrelations, which are consistent with an ecological era by distributing agency through continuous media, rather than the discrete atoms and packets of ‘information’ that characterise mechanistic frameworks. This continuity is therefore not bounded like objects, but is expanded through immanent spaces.

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An example is in the work of Viktor Schauberger who regarded water as an organism. He invented apparatuses for enlivening slow flowing and polluted water by inducing turbulence M that made water livelier. The new energy provided by the vortices in these bodies of water could also be used to perform useful work, like transporting lumber. At the same time, rivers and streams were revitalised by these technologies. Such approaches dilute, decentre, and reduce the environmental impact of a particular kind of human presence in the construction of industrial processes. It also critically proposes notions of society that embrace all humans and even includes species that have become so intrinsic to our biology they are integral to our being. For example, bacterial commensals (bacterial microbiome), symbionts (pets), and even ‘living’ fossils (mitochondrial bodies, viral and bacterial gene sequences in ‘junk’ DNA) are fundamental to our existence; their diffusion within our flesh conferring us with unique character. As members of our ‘fluid’communities,E their rights and (potential) responsibilities are emphasised, as are notions of agency and modes of conversation. Such considerations invite alternative ideas about personhood with the potential extension to chimpanzees, dolphins, machines, land, rivers, and even planet Earth.

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These recognitions may also extend to building coalitions for (environmental) peace and include plants (ancient trees), insects (bees and other pollinators), soil organisms (mycorrhiza), and other creatures upon which our immediate existence depends. Of course, such notions, which are woven throughout the cycles of life and death, could potentially extend indefinitely to embrace every being on the planet. However, from a ‘lived’ perspective, community members are bestowed relevance through anthropological ethical concerns and values, which are played out in the construction of social groupings that are at the heart of ecological change. An ‘ecological’ ethics however is necessary, so that the intimate connections A between fluid bodies and their habitats can be sorted, ordered, and valued according to the requirements and character of particular places and their communities. Yet, these groupings may no longer be recognizable according to current conventions of naming and classification – in other words, an ecological shifting of our value frameworks will inevitably produce monsters – namely, uncategorisable beings .

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Direct encounter between liquid bodies
Although existing life forms may already be read as liquid bodies, they are inevitably still framed within the conventions of the Animal Machine, which invokes discourses of efficiency, geometric perfection, hierarchies, and determinism. To circumvent these biases, an apparatus for provoking direct encounters U with liquid bodies is needed to produce a unique semiotic portrait of liquid life that corresponds with the dynamics of the living realm. This may be explored through poetics or graphical notations, – yet all forms of representation of liquid bodies are problematic as they are incomplete – enabling the liquid realm to ‘speak’ in its own terms is preferable.

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An apparatus that I have been working with since 2009, the Bütschli System, arises spontaneously from intersecting liquid fields – olive oil and strong (3M) alkali. This uniquely varied, yet predictable chemical recipe, produces lifelike bodies that spontaneously move, show sensitivity to their surroundings and respond to each other.4 The strange, yet somewhat familiar images, symbols and behaviours that arise from the Bütschli system may be read as recognisable bodies and behaviours that arise from the tensions between interacting material fields at the edge of chaos. Yet they can be engaged and shaped by physical and chemical languages. For example, adjusting external factors that alter surface tension can induce specific movements like clustering; while changing internal factors such as adding salt solutions to the mixture, enables droplets to make sculptural formations. How these outputs are read or interpreted is established through juxtapositions against multiple H disciplines such as prose poetry, science, and design notations.

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A human-scale example of this kind of experiment was held as a performance called “Temptations of the Nonlinear Ladder”5, which was performed at the Palais de Tokyo in April 2016 for the Do Disturb Festival. An environment was constructed using a black mirror with a reflective metal disc suspended above it which generated multiple interfaces between ground, water, and air. Circus artists explored these spaces, improvising connections between them while using their bodies as liquid apparatuses. The audience was invited to gaze into the reflective surfaces that episodically appeared through the performance space and - as if they were telling the future - bestow meaning on the images they observed. In this way, the radical human bodies were transfigured at interfaces where they acquired imminent meaning – becoming a language of flux.

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Similarly, Bütschli droplets also begin to reveal a world through a liquid perspective, conjuring new words, concepts, and relationships into existence. Such notations may enable us to inhabit spaces more ecologically, understanding how we may engage the infrastructures and fabrics that enable life rather than building mechanical objects for living in. Our apparatuses for inhabitation may acquire increasingly lifelike characteristics that extend the realm of the home and city into the ecosphere, where internal and external spaces are engaged in meaningful and mutual conversation. For example, a house may be able to recycle its water and metabolically transform waste substances into useful products . This is a pursuit of the “Living Architecture”6 project and is envisioned as a next-generation selectively programmable bioreactor that is capable of extracting valuable resources from sunlight, wastewater, and air and then generates oxygen, proteins, and biomass. “Living Architecture” uses the standard principles of both photo-bioreactor and microbial fuel cell technologies, which are adapted to work together synergistically to clean wastewater, generate oxygen, provide electrical power, and generate useable biomass (fertilizer). The outputs of these systems are then metabolically ‘programmed’ by the synthetic bioreactor to generate useful organic compounds like sugars, oils and alcohols7.


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IMAGE by Simone Ferracina

When life is considered through a liquid lens, it is no longer a deterministic, object-oriented machine but soft, protean, and integrated within a paradoxical, planetary-scale material condition that is unevenly distributed spatially but temporally continuous.
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“Liquid life arises from out of a soup, smog, a scab, fire – where the incandescent heavens rain molten rock and alkali meets oil – a choreography of primordial metabolic flames. Amidst the reducing atmosphere of choking toxic gases, its coming-into-being draws momentarily into focus and recedes again. The unfathomable darkness of the Hadean epoch is reincarnated here. It is drenched in thick gas clouds, unweathered dusts, and pungent vapours, which obfuscate the light. The insulating blanket of gaseous poisons protects the land against the cruel stare of ultraviolet rays and ionizing space radiation, which spite the Earth’s surface. Out of these volatile caustic bodies, a succession of chemical ghosts haunts the heavy atmosphere. Here, imaginary figures, like those that appear in a fevered condition, split faint light around. They wander among the auras of turbulent interfaces and thickening densities of matter, scum and crust. Over the course of half a billion years, sudden ectoplasms spew in successive acts over the darkened theatre of the planet. Charged skies, enlivened by the ionic electricity of fluids and periodically lit with photon cuts, strike blows into the ground to begin the process of chemical evolution. Dancing under ionic winds electric storms scratch at the Earth and charged tendrils of matter stand on their end. Vulgar in its becoming, the blubber slobbers on biomass with carbohydrate teeth, drooling enzymes that digest nothing but its own bite. Energetically incontinent, it acquires a cold metabolism and a watery heart. Expanding and contacting, it starts to pump universal solvent through its liquid eyes, lensing errant light into its dark thoughts. Mindless, yet finely tuned to its context, it wriggles upon time’s compost, chewing and chewing with its boneless jaws on nothing but the agents of death. In its structural disobedience, the misshapen mass steadily grows more organized and reluctant to succumb to decay. Patterning the air, its fingers extend like claws, obstructing its passage between the poles of oblivion. Caressing itself in gratuitous acts of procreation, the daub offers contempt for the forces of disorder, and crawls steadily towards being.”

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+_REFERENCES +

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Armstrong, Rachel. Vibrant Architecture. Matter as a CoDesigner of Living Structures. De Gruyter Open, 2015.

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“Living Architecture LIAR – transform our habitats from inert spaces into programmable sites.” Living Architecture. 2016. Accessed September 16, 2017. http://livingarchitecture-h2020.eu/.

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Morton, Timothy. Hyperobjects: philosophy and ecology after the end of the world. Minneapolis: University of Minnesota Press, 2014.

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Serres, Michael. Genesis. Ann Arbor: Univ. of Michigan Press, 1996.

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+_GLOSSARY +

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Animal machine or Bête machine, is a philosophical notion from Descartes which implied the fundamental difference between animals and humans (cf. L’homme Machine). Now this theory is strongly challenged.

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Componentization is the process of atomizing (breaking down) resources into separate reusable packages that can be easily recombined. Componentization is the most important feature of (open) knowledge development as well as the one that is, at present, least advanced.

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Ecopoiesis is the artificial creation of a sustainable ecosystem on a lifeless planet.

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Ectoplasm is a supernatural viscous substance that supposedly exudes from the body of a medium during a spiritualistic trance and forms the material for the manifestation of spirits.

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Hyperbody is a living system that exceeds conventional boundaries and definitions of existence. For example, a slime mould in its plasmodial form that looks like a membranous slug is a hyperbody; it is formed by the merging of many individual cells to form a single, coordinated giant cell.

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Hypercomplexity is an organizational condition that is founded on the principles of complexity from which new levels of order arise from interactions between components, but that exceeds a classical understanding of complex systems through their scale, heterogeneity, distribution and capacity to transform their surroundings.

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Hyperobjects are entities of such vast temporal and spatial dimensions that they cannot be perceived in their entirety and defeat traditional ideas about the discreteness and certainty associated with individual bodies.

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Katabatic flows are wind currents.

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Microbial Fuel Cell is a metabolically powered apparatus that under anaerobic conditions, converts organic matter into electricity, fresh water and oxygen.

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Photobioreactor is a system that uses the ability of micro-organisms to convert light and carbon dioxide into biomass, like sugars, alcohol and cellulose.

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Scrying is reading the future against the present by using unstable images produced by reflective surfaces.

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_BIO

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Rachel Armstrong (UK) innovates and designs new materials that poses properties of living systems, that can be manipulated to form what she calls ‘living architecture’. Her research prompts a re-evaluation of how we think about our homes and cities and raises questions about sustainable development of built environment. Working in the emerging field of synthetic biology, Armstrong is at the forefront of hybrid scientific practices that seek to combine different sets of knowledge. Her pioneering work is focussed on re-opening space to the unknown, the invisible, and the unexplainable - as a way to re-engage with the present and re-enchant reality. Armstrong is Professor of Experimental Architecture at the School of Architecture, Planning, and Landscape at Newcastle University. She is a Rising Waters II Fellow with the Robert Rauschenberg Foundation (April-May 2016), TWOTY futurist 2015, Fellow of the British Interplanetary Society, and a 2010 Senior TED Fellow.
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  1. Morton, Timothy. Hyperobjects: philosophy and ecology after the end of the world. Minneapolis: University of Minnesota Press, 2014.

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  3. Serres, Michael. Genesis. Ann Arbor: Univ. of Michigan Press, 1996. 14.

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  5. Also termed ‘dissipative structures’ by Ilya Prigogine

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  7. Armstrong, Rachel. Vibrant Architecture. Matter as a CoDesigner of Living Structures. De Gruyter Open, 2015.

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  9. A collaboration between Rachel Armstrong, Professor of Experimental Architecture, Newcastle University, Rolf Hughes, Professor of Artistic Research, Stockholm University of the Arts, Olle Sandberg, Director, Cirkör LAB and circus artists Methinee Wongtrakoon (contortionist) and Alexander Dam (acrobat), with technical rigging by Joel Jedström

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  11. The Living Architecture project received funding from the European Union’s Horizon 2020 Research and Innovation Programme under Grant Agreement no. 686585. It is made possible by a collaboration of experts from the universities of Newcastle, UK; the West of England (UWE Bristol); Trento, Italy; the Spanish National Research Council in Madrid; LIQUIFER Systems Group, Vienna, Austria; and Explora, Venice, Italy, that began in April 2016 and runs to April 2019.

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  13. "Living Architecture LIAR – transform our habitats from inert spaces into programmable sites." Living Architecture. 2016. Accessed September 16, 2017. http://livingarchitecture-h2020.eu/.

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+ + + + + + + _ORIGINAL TEXT + _WOR(L)DS + _MANIFESTO + _ARTISTIC RESPONSE by Andrea Bozic and Julia Willms (TILT) + _INTERPRETATION + +
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LIQUID

+ +My reclaimed word for the 21st century is liquid -- specifically in +relationship to the character of life -- and as a counterpoint to the +machine metaphor: the philosophical and scientific idea that the whole +universe and everything in it can be understood as mechanisms, composed +of the sum of fundamental components, which are hierarchically organised +to perform work in a logical and predictable way. + +**Dualism**
Rene Descartes' *Treatise of Man*, described conceptual models +of humans that were made up of fundamental elements -- a non-thinking +body and a thinking soul -- which could exist independently from one +another. He extracted the rational soul from the body in order to remove +any element of mentality. In this way, the geometrical nature of bodies +could be more exactly described by a new physics that reduced all +natural change to the local motion of material particles. The body, +denuded of the soul and mind, became known as the *Animal Machine* (or +Bête Machine). Yet Descartes neglected to characterise the nature of the +soul in more than its barest details. He considered it a mysterious +substance where 'the animal spirits' flowed from the pineal gland (the +principle seat of the soul) through a network of vessels (neurons) like +air. However, Descartes never developed a final theory about the +relationship between the body and the soul. This brilliantly simple act +of dualism created the foundations of modernity, providing the framework +for scientific developments and technological advancements during the +Enlightenment. The 'beauty' of a machine is that it represents a +framework for thinking and simultaneously embodies a technical system. +It therefore shaped a worldview that considered matter as inert -- +without innate energy -- and required animation through external +agencies if it was to act. So, to animate a machine, energy, process, or +spirit, is needed. \[z\] Objects must reconnect with flow if they are to +be lively -- they need a relationship with liquids -- and we have denied +them the full range of these abilities. \[z\] + +**Flux**
The pre-Socrates philosopher Heraclitus first expressed the idea of +reality being in constant movement in his adage Panta Rhei: "everything +flows, nothing stays." Finally, over the course of the 20th century it +was increasingly understood again that the world is situated within a +condition of flux. Thinkers and innovators have responded to the liquid +qualities of the world through significant shifts in our ways of +thinking. For example, Ludwig von Bertalanffy's notion of general +systems theory informed the field of cybernetics -- the scientific study +of control and communication in the animal and the machine. Alfred North +Whitehead's focus on process placed dynamic events at the core of living +phenomena, and Timothy Morton's search for designing with metabolism -- +to generate 'straightforward' environmental images [^1] -- aims to +bypass translation of processual events through modes of representation. +In this realm of constant change, the machine metaphor describes reality +incompletely. As much as liquids have been conjured into our language in +an attempt to find a better metaphorical framework to characterise +'life', progress has been rhetorical, as liquids themselves are not +imagined or readily applied as technologies. Fluids may power machines, +lubricate them, or be consumed by them. However, the behaviour of +liquids is so rich and complex, that the toolsets we possess to +manipulate them do not offer sufficient precision to rival mechanical +potency. How can we think through liquids in ways that not only describe +our present reality, but also conjure into existence an occult +performativity of the material realm that acts upon the present as well +as helps to imagine and shape the future? + +**Ever-changing**
Conventionally, the extraordinary properties of liquids +have provoked a sense of erasure, featurelessness monstrosity -- in the +sense they exceed our capacity to rationalise and control them by +applying our modern perspectives. Liquid bodies continually rise, +undulate, entangle, fall, and exist within watery landscapes. They are +often so entangled with their surroundings that it is almost impossible +to see them; for neither our natural senses, nor concepts, fully convey +their ever-changing nature. Defying classical conventions of +organization and behaviour, liquid matter is fundamentally lively. It +also simultaneously permeates and is infiltrated by its surroundings. +Claude Lévi-Strauss regards the sea as uninspiring, while Roland Barthes +views the ocean as a non-signifying field that bears no message. Yet, +Michel Serres embraces the details of liquid bodies, specifically the +subversive "nautical murmur" of the sea, which he regards as a symptom +of its disturbing, pervasive vitality: "It \[the sea\] is at the +boundaries of physics, and physics is bathed in it, it lies under the +cuttings of all phenomena, a Proteus taking on any shape, the matter and +flesh of manifestations. The noise --- intermittence and turbulence --- +quarrel and racket --- this sea noise is the originating rumour and +murmuring, the original hate." [^2] + +Liquid bodies are anything but banal; they are subversive, resisting +control, atomization, and, ultimately, mechanization. Their fundamental +unpredictability and unruly multi-potentiality evades our tendency to +control and subordinate it to human desire -- even when industrial +apparatuses are used. Indeed, we are required to continually negotiate +our terms of engagement with such liquid bodies and find ourselves ill +equipped to quell their monstrous transformations, or impose order upon +their undifferentiated expanses. Although these rebellious +characteristics are palpable, to go beyond metaphorical rhetoric +requires their material nature to be 'named.' For example, they may be +recognised as fields, like 'badlands,' as reported by fishermen, where +it is difficult to navigate the water. Another example are interfaces: +where oil meets water and lifelike patterns emerge, which are +reminiscent of jellyfish or worms. In this way, an actual dialogue may +begin that embraces the complexity and character of the liquid realm. + +In an age of instability, where matter is at the edge of chaos, liquids +persistently respond to uncertain terrains by exhibiting dynamic +patterns and structures. Think of a whirlpool or tornado where +repetitions of processes within a site confer persistence upon a +structure, rather than being obedient to the absolute position or +configuration of atoms. The operative agents of this realm are +'paradoxical' objects[^3] that are made up of the constant flow of +matter and energy. These structures can occur at many different scales +and become increasingly complex with time. They do not only act +independently but can also collaborate, linking together like +hurricanes, to form massively distribute hubs of activity across the +surface of the planet. Such hyper-structures not only form weather +fronts, but also manifest as soils and forests, which exist in many +niches and at multiple scales through the metabolic activity of a web of +beings. Collectively, they contribute to the active forces of nature. + +**Liquid life**
The notion of *liquid life* draws attention to alternative +pathways that are self-organizing and self-sustaining. Liquids that +'act' through their own agency may open up opportunities to work with +the natural realm in new ways, by thinking along, with, and through +liquids -- both as a metaphor and as a technology. In this way ideas can +be tested, refined, and developed towards particular dreams, challenges, +and futures. Such expanded perspectives also engage with alternative +power and identity relationships that move towards inclusive, horizontal +interrelations, which are consistent with an ecological era by +distributing agency through continuous media, rather than the discrete +atoms and packets of 'information' that characterise mechanistic +frameworks. This continuity is therefore not bounded like objects, but +is expanded through immanent spaces. + +An example is in the work of Viktor Schauberger who regarded water as an +organism. He invented apparatuses for enlivening slow flowing and +polluted water by inducing turbulence that made water livelier. The new +energy provided by the vortices in these bodies of water could also be +used to perform useful work, like transporting lumber. At the same time, +rivers and streams were revitalised by these technologies. Such +approaches dilute, decentre, and reduce the environmental impact of a +particular kind of human presence in the construction of industrial +processes. It also critically proposes notions of society that embrace +all humans and even includes species that have become so intrinsic to +our biology they are integral to our being. For example, bacterial +commensals (bacterial microbiome), symbionts (pets), and even 'living' +fossils (mitochondrial bodies, viral and bacterial gene sequences in +'junk' DNA) are fundamental to our existence; their diffusion within our +flesh conferring us with unique character. As members of our 'fluid' +communities, their rights and (potential) responsibilities are +emphasised, as are notions of agency and modes of conversation. Such +considerations invite alternative ideas about personhood with the +potential extension to chimpanzees, dolphins, machines, land, rivers, +and even planet Earth. + +These recognitions may also extend to building coalitions for +(environmental) peace and include plants (ancient trees), insects (bees +and other pollinators), soil organisms (mycorrhiza), and other creatures +upon which our immediate existence depends. Of course, such notions, +which are woven throughout the cycles of life and death, could +potentially extend indefinitely to embrace every being on the planet. +However, from a 'lived' perspective, community members are bestowed +relevance through anthropological ethical concerns and values, which are +played out in the construction of social groupings that are at the heart +of ecological change. An 'ecological' ethics however is necessary, so +that the intimate connections between fluid bodies and their habitats +can be sorted, ordered, and valued according to the requirements and +character of particular places and their communities. Yet, these +groupings may no longer be recognizable according to current conventions +of naming and classification -- in other words, \[z an ecological +shifting of our value frameworks will inevitably produce monsters -- +namely, uncategorisable beings z\]. + +**Direct encounter between liquid bodies**
Although existing life forms may +already be read as liquid bodies, they are inevitably still framed +within the conventions of the Animal Machine, which invokes discourses +of efficiency, geometric perfection, hierarchies, and determinism. To +circumvent these biases, an apparatus for provoking direct encounters +with liquid bodies is needed to produce a unique semiotic portrait of +liquid life that corresponds with the dynamics of the living realm. This +may be explored through poetics or graphical notations, -- yet all forms +of representation of liquid bodies are problematic as they are +incomplete -- enabling the liquid realm to 'speak' in its own terms is +preferable. + +An apparatus that I have been working with since 2009, the Bütschli +System, arises spontaneously from intersecting liquid fields -- olive +oil and strong (3M) alkali. This uniquely varied, yet predictable +chemical recipe, produces lifelike bodies that spontaneously move, show +sensitivity to their surroundings and respond to each other.[^4] The +strange, yet somewhat familiar images, symbols and behaviours that arise +from the Bütschli system may be read as recognisable bodies and +behaviours that arise from the tensions between interacting material +fields at the edge of chaos. Yet they can be engaged and shaped by +physical and chemical languages. For example, adjusting external factors +that alter surface tension can induce specific movements like +clustering; while changing internal factors such as adding salt +solutions to the mixture, enables droplets to make sculptural +formations. How these outputs are read or interpreted is established +through juxtapositions against multiple disciplines such as prose +poetry, science, and design notations. + +A human-scale example of this kind of experiment was held as a +performance called "Temptations of the Nonlinear Ladder"[^5], which was +performed at the Palais de Tokyo in April 2016 for the Do Disturb +Festival. An environment was constructed using a black mirror with a +reflective metal disc suspended above it which generated multiple +interfaces between ground, water, and air. Circus artists explored these +spaces, improvising connections between them while using their bodies as +liquid apparatuses. The audience was invited to gaze into the reflective +surfaces that episodically appeared through the performance space and - +as if they were telling the future - bestow meaning on the images they +observed. In this way, the radical human bodies were transfigured at +interfaces where they acquired imminent meaning -- becoming a language +of flux. + +Similarly, Bütschli droplets also begin to reveal a world through a +liquid perspective, conjuring new words, concepts, and relationships +into existence. Such notations may enable us to inhabit spaces more +ecologically, understanding how we may engage the infrastructures and +fabrics that enable life rather than building mechanical objects for +living in. Our apparatuses for inhabitation may acquire increasingly +lifelike characteristics that extend the realm of the home and city into +the ecosphere, where internal and external spaces are engaged in +meaningful and mutual conversation. For example, \[z\] a house may be +able to recycle its water and metabolically transform waste substances +into useful products \[z\]. This is a pursuit of the "Living +Architecture"[^6] project and is envisioned as a next-generation +selectively programmable bioreactor that is capable of extracting +valuable resources from sunlight, wastewater, and air and then generates +oxygen, proteins, and biomass. "Living Architecture" uses the standard +principles of both photo-bioreactor and microbial fuel cell +technologies, which are adapted to work together synergistically to +clean wastewater, generate oxygen, provide electrical power, and +generate useable biomass (fertilizer). The outputs of these systems are +then metabolically 'programmed' by the synthetic bioreactor to generate +useful organic compounds like sugars, oils and alcohols[^7]. + +IMAGE by Simone Ferracina \* When life is considered through a liquid +lens, it is no longer a deterministic, object-oriented machine but soft, +protean, and integrated within a paradoxical, planetary-scale material +condition that is unevenly distributed spatially but temporally +continuous.\*\[THE ITALICISED TEXT INDICATES THE PLACEMENT OF THE +IMAGE\] + +

Manifesto

+**Liquid** life is an uncertain realm. The concepts +needed to realise its potential have not yet existed until now. The +hypercomplexity and hyperobject-ness of liquid terrains exceeds our +ability to observe or comprehend them in their totality. Indeed, what we +typically recognise as living things are by-products of liquid +processes. + +**Liquid** life is a worldview. A phantasmagoria of effects, +disobedient substances, evasive strategies, dalliances, skirmishes, +flirtations, addictions, quantum phenomena, unexpected twists, sudden +turns, furtive exchanges, sly manoeuvres, blind alleys, and exuberant +digressions. It cannot be reduced into simple ciphers of process, +substance, method, or technology. It is more than a set of particular +materials that comprise a recognizable body. It is more than vital +processes that are shaped according to specific contexts and subjective +encounters. Yet we recognise its coherence through the lives of +'beings', which remain cogent despite incalculable persistent changes +such as flows, ambiguities, transitional states and tipping points that +bring about radical transformation within physical systems. + +**Liquid** life is a kind of 'metabolic weather'. It is a dynamic +substrate - or *hyperbody* - that permeates the atmosphere, liquid +environments, soils and Earth's crust. 'Metabolic weather' refers to +complex physical, chemical and even biological outcomes that are +provoked when fields of matter at the edge of chaos collide. It is a +vector of infection, an expression of recalcitrant materiality and a +principle of *ecopoiesis*, which underpins the process of living, +lifelike events -- and even life itself. These life forms arise from +energy gradients, density currents, *katabatic flows*, whirlwinds, dust +clouds, pollution and the myriad expressions of matter that detail our +(earthy, liquid, gaseous) terrains. + +**Liquid** life is immortal. Arising from our unique planetary +conditions, its ingredients are continually re-incorporated into active +metabolic webs through cycles of life and death. Most deceased liquid +matter lies quiescent, patiently waiting for its reanimation through the +persistent metabolisms within our soils. + +**Liquid** life exceeds rhetoric. Its concepts can be embodied and +experimentally tested using a trans-disciplinary approach, which draws +upon a range of conceptual lenses and techniques to involve the liquid +realm with its own 'voice'. From these perspectives liquid technologies +emerge that are capable of generating new kinds of artefacts, like +Bütschli droplets, which are liquid chemical assemblages capable of +surprisingly lifelike behaviours. These agents exceed rhetoric, as they +possess their own agency, semiotics, and choreographic impulses, which +allow us to value and engage in discourse with them on *their* terms. +The difficulty and slippages in meaning and volition between +participating bodies creates the possibility of en evolving poly-vocal +dialectics. + +**Liquid** life provokes an expanded notion of consciousness. Its +'thinking' is a molecular sea of possibilities that resist the rapid +decay towards thermodynamic equilibrium. In these vital moments it +indulges every possible tactic to persist, acquiring a rich palette of +natural resources, food sources, waste materials, and energy fields. +These material alliances necessitate decisions that do not require a +coordinating centre, like the brain. + +**Liquid** are non-bodies. They are without formal boundaries and +are constantly changing. + +**Liquid** bodies are paradoxical structures that possess their +own logic. Although classical laws may approximate their behaviour, they +cannot predict them. They are tangible expressions of nonlinear material +systems, which exist outside of the current frames of reference that our +global industrial culture is steeped in. Aspects of their existence +stray into the unconventional and liminal realms of auras, quantum +physics, and ectoplasms. In these realms they cannot be appreciated by +objective measurement and invite subjective engagement, like poetic +trysts. Their diversionary tactics give rise to the very acts of life, +such as the capacity to heal, adapt, self-repair, and empathize. + +**Liquid** bodies are pluri-pontent. They are capable of many acts +of transformation. They de-simplify the matter of being a body through +their visceral entanglements. While the bête machine depends on an +abstracted understanding of anatomy founded upon generalizations and +ideals, liquid bodies resist these tropes. Liquid bodies discuss a mode +of existence that is constantly changing -- not as the cumulative +outcomes of 'error' -- but as a highly choreographed and continuous +spectrum stream of events that arise from the physical interactions of +matter. They internalize other bodies as manifolds within their +substance and assert their identity through their environmental +contexts. Such entanglements invoke marginal relations between multiple +agencies and exceed the classical logic of objects. They are inseparable +from their context and offer ways of thinking and experimenting with the +conventions of making and being embodied. + +**Liquid** bodies invite us to articulate the fuzziness, paradoxes +and uncertainties of the living realm. They are still instantly +recognizable and can be named as tornado, cirrus, soil, embryo, or +biofilm. These contradictions -- of form and constancy -- encourage +alternative readings of how we order and sort the world, whose main +methodology is through relating one body to another. Indeed, protean +liquid bodies help us understand that while universalisms, averages and +generalizations are useful in producing maps of our being in the world, +they neglect specific details, which 'bring forth' the materiality of +the environment. + +**Liquid** bodies are political agents. They re-define the +boundaries and conditions for existence in the context of dynamic, +unruly environments. They propose alternative modes of living that are +radically transformed, monstrous, coherent, raw -- and selectively +permeated by their nurturing media. + +**Liquid** bodies invite us to understand our being beyond +relational thinking and invent monsters that defy all existing forms of +categorization to make possible a new kind of corporeality. They are +what remain when mechanical explanations can no longer account for the +experiences that we recognise as 'being alive.' + +*"Liquid life arises from out of a soup, smog, a scab, fire -- where the +incandescent heavens rain molten rock and alkali meets oil -- a +choreography of primordial metabolic flames. Amidst the reducing +atmosphere of choking toxic gases, its coming-into-being draws +momentarily into focus and recedes again. The unfathomable darkness of +the Hadean epoch is reincarnated here. It is drenched in thick gas +clouds, unweathered dusts, and pungent vapours, which obfuscate the +light. The insulating blanket of gaseous poisons protects the land +against the cruel stare of ultraviolet rays and ionizing space +radiation, which spite the Earth's surface. Out of these volatile +caustic bodies, a succession of chemical ghosts haunts the heavy +atmosphere. Here, imaginary figures, like those that appear in a fevered +condition, split faint light around. They wander among the auras of +turbulent interfaces and thickening densities of matter, scum and crust. +Over the course of half a billion years, sudden ectoplasms spew in +successive acts over the darkened theatre of the planet. Charged skies, +enlivened by the ionic electricity of fluids and periodically lit with +photon cuts, strike blows into the ground to begin the process of +chemical evolution. Dancing under ionic winds electric storms scratch at +the Earth and charged tendrils of matter stand on their end. Vulgar in +its becoming, the blubber slobbers on biomass with carbohydrate teeth, +drooling enzymes that digest nothing but its own bite. Energetically +incontinent, it acquires a cold metabolism and a watery heart. Expanding +and contacting, it starts to pump universal solvent through its liquid +eyes, lensing errant light into its dark thoughts. Mindless, yet finely +tuned to its context, it wriggles upon time's compost, chewing and +chewing with its boneless jaws on nothing but the agents of death. In +its structural disobedience, the misshapen mass steadily grows more +organized and reluctant to succumb to decay. Patterning the air, its +fingers extend like claws, obstructing its passage between the poles of +oblivion. Caressing itself in gratuitous acts of procreation, the daub +offers contempt for the forces of disorder, and crawls steadily towards +being."* + +**footnotes** + +[^1]: Morton, Timothy. *Hyperobjects: philosophy and ecology +after the end of the world.* Minneapolis: University of Minnesota Press, +2014. + +[^2]: Serres, Michael. *Genesis*. Ann Arbor: Univ. of Michigan Press, +1996. 14. + +[^3]: Also termed 'dissipative structures' by Ilya Prigogine + +[^4]: Armstrong, Rachel. *Vibrant Architecture. Matter as a CoDesigner of +Living Structures*. De Gruyter Open, 2015. + +[^5]: A collaboration between +Rachel Armstrong, Professor of Experimental Architecture, Newcastle +University, Rolf Hughes, Professor of Artistic Research, Stockholm +University of the Arts, Olle Sandberg, Director, Cirkör LAB and circus +artists Methinee Wongtrakoon (contortionist) and Alexander Dam +(acrobat), with technical rigging by Joel Jedström + +[^6]: The Living +Architecture project received funding from the European Union's Horizon +2020 Research and Innovation Programme under Grant Agreement no. 686585. +It is made possible by a collaboration of experts from the universities +of Newcastle, UK; the West of England (UWE Bristol); Trento, Italy; the +Spanish National Research Council in Madrid; LIQUIFER Systems Group, +Vienna, Austria; and Explora, Venice, Italy, that began in April 2016 +and runs to April 2019. + +[^7]: "Living Architecture LIAR -- transform our +habitats from inert spaces into programmable sites.\" Living +Architecture. 2016. Accessed September 16, 2017. +http://livingarchitecture-h2020.eu/. + +

References

Armstrong, Rachel. *Vibrant Architecture. Matter as a +CoDesigner of Living Structures.* De Gruyter Open, 2015. + +"Living Architecture LIAR -- transform our habitats from inert spaces +into programmable sites." Living Architecture. 2016. Accessed September +16, 2017. http://livingarchitecture-h2020.eu/. + +Morton, Timothy. *Hyperobjects: philosophy and ecology after the end of +the world.* Minneapolis: University of Minnesota Press, 2014. + +Serres, Michael. *Genesis.* Ann Arbor: Univ. of Michigan Press, 1996. + +

Glossary

+ +**Animal machine** or Bête machine, is a philosophical +notion from Descartes which implied the fundamental difference between +animals and humans (cf. L'homme Machine). Now this theory is strongly +challenged. + +**Componentization** is the process of atomizing +(breaking down) resources into separate reusable packages that can be +easily recombined. Componentization is the most important feature of +(open) knowledge development as well as the one that is, at present, +least advanced. + +**Ecopoiesis** is the artificial creation of a +sustainable ecosystem on a lifeless planet. + +**Ectoplasm** is a +supernatural viscous substance that supposedly exudes from the body of a +medium during a spiritualistic trance and forms the material for the +manifestation of spirits. + +**Hyperbody** is a living system that +exceeds conventional boundaries and definitions of existence. For +example, a slime mould in its plasmodial form that looks like a +membranous slug is a hyperbody; it is formed by the merging of many +individual cells to form a single, coordinated giant cell. + +**Hypercomplexity** is an organizational condition that is founded +on the principles of complexity from which new levels of order arise +from interactions between components, but that exceeds a classical +understanding of complex systems through their scale, heterogeneity, +distribution and capacity to transform their surroundings. + +**Hyperobjects** are entities of such vast temporal and spatial +dimensions that they cannot be perceived in their entirety and defeat +traditional ideas about the discreteness and certainty associated with +individual bodies. + +**Katabatic** flows are wind currents. + +**Microbial Fuel Cell** is a metabolically powered apparatus that +under anaerobic conditions, converts organic matter into electricity, +fresh water and oxygen. + +**Photobioreactor** is a system that uses +the ability of micro-organisms to convert light and carbon dioxide into +biomass, like sugars, alcohol and cellulose. + +**Scrying** is +reading the future against the present by using unstable images produced +by reflective surfaces. diff --git a/LIQUID/jquery.rwdImageMaps.min.js b/LIQUID/jquery.rwdImageMaps.min.js new file mode 100644 index 0000000..61854cd --- /dev/null +++ b/LIQUID/jquery.rwdImageMaps.min.js @@ -0,0 +1,11 @@ +/* +* rwdImageMaps jQuery plugin v1.6 +* +* Allows image maps to be used in a responsive design by recalculating the area coordinates to match the actual image size on load and window.resize +* +* Copyright (c) 2016 Matt Stow +* https://github.com/stowball/jQuery-rwdImageMaps +* http://mattstow.com +* Licensed under the MIT license +*/ +;(function(a){a.fn.rwdImageMaps=function(){var c=this;var b=function(){c.each(function(){if(typeof(a(this).attr("usemap"))=="undefined"){return}var e=this,d=a(e);a("").on('load',function(){var g="width",m="height",n=d.attr(g),j=d.attr(m);if(!n||!j){var o=new Image();o.src=d.attr("src");if(!n){n=o.width}if(!j){j=o.height}}var f=d.width()/100,k=d.height()/100,i=d.attr("usemap").replace("#",""),l="coords";a('map[name="'+i+'"]').find("area").each(function(){var r=a(this);if(!r.data(l)){r.data(l,r.attr(l))}var q=r.data(l).split(","),p=new Array(q.length);for(var h=0;h" + ] + }, + "execution_count": 42, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "im1.convert(\"L\")\n", + "im3 = im1.resize((new_width, new_height), Image.ANTIALIAS)\n", + "im3.save('resized.png')\n", + "im3" + ] + }, + { + "cell_type": "code", + "execution_count": 17, + "metadata": {}, + "outputs": [], + "source": [ + "im3.convert(\"1\")\n", + "im4 = im3.convert(\"1\")\n", + "im4.save('def1.png')\n", + "\n" + ] + }, + { + "cell_type": "code", + "execution_count": 73, + "metadata": {}, + "outputs": [ + { + "ename": "FileNotFoundError", + "evalue": "[Errno 2] No such file or directory: 'Imageresearch/Everett.cat.png'", + "output_type": "error", + "traceback": [ + "\u001b[0;31m---------------------------------------------------------------------------\u001b[0m", + "\u001b[0;31mFileNotFoundError\u001b[0m Traceback (most recent call last)", + "\u001b[0;32m\u001b[0m in \u001b[0;36m\u001b[0;34m\u001b[0m\n\u001b[0;32m----> 1\u001b[0;31m \u001b[0mtest\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mImage\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mopen\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m\"Imageresearch/Everett.cat.png\"\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m 2\u001b[0m \u001b[0mtest1\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mImage\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mopen\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m\"Imageresearch/def1.png\"\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n", + "\u001b[0;32m/usr/local/lib/python3.7/dist-packages/PIL/Image.py\u001b[0m in \u001b[0;36mopen\u001b[0;34m(fp, mode, formats)\u001b[0m\n\u001b[1;32m 2889\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 2890\u001b[0m \u001b[0;32mif\u001b[0m \u001b[0mfilename\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m-> 2891\u001b[0;31m \u001b[0mfp\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mbuiltins\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mopen\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mfilename\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m\"rb\"\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m 2892\u001b[0m \u001b[0mexclusive_fp\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;32mTrue\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 2893\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n", + "\u001b[0;31mFileNotFoundError\u001b[0m: [Errno 2] No such file or directory: 'Imageresearch/Everett.cat.png'" + ] + } + ], + "source": [ + "test = Image.open(\"Imageresearch/Everett.cat.png\")\n", + "test1 = Image.open(\"Imageresearch/def1.png\")" + ] + }, + { + "cell_type": "code", + "execution_count": 62, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "(588, 400) (400, 500)\n" + ] + } + ], + "source": [ + "print (test.size, test1.size)" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + } + ], + "metadata": { + "kernelspec": { + "display_name": "Python 3", + "language": "python", + "name": "python3" + }, + "language_info": { + "codemirror_mode": { + "name": "ipython", + "version": 3 + }, + "file_extension": ".py", + "mimetype": "text/x-python", + "name": "python", + "nbconvert_exporter": "python", + "pygments_lexer": "ipython3", + "version": "3.7.3" + } + }, + "nbformat": 4, + "nbformat_minor": 4 +} diff --git a/OTHERNESS/Imageresearch/Meme.png b/OTHERNESS/Imageresearch/Meme.png new file mode 100644 index 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Binary files /dev/null and b/OTHERNESS/Imageresearch/piraha.result.w.png differ diff --git a/OTHERNESS/OTHERNESS.css b/OTHERNESS/OTHERNESS.css new file mode 100644 index 0000000..5df61db --- /dev/null +++ b/OTHERNESS/OTHERNESS.css @@ -0,0 +1,52 @@ +@page{ + size: A3; + margin: 10mm; + background-color: white; + font-size: 10pt; + font-weight: bold; + color: black; + + + @top-left{ + content: "WORDS FOR THE FUTURE"; + } + @top-center{ + content: "DANIEL L. EVERETT"; + } + @top-right{ + content: "2020"; + } + +} +body{ + font-family: monospace; + font-size: 5pt; + line-height: 1.4; + color: black; +} + +h1{ + font-family: monospace; + width: 100%; + text-align: center; + font-size: 250%; + line-height: 1.25; + color: black; + text-shadow: 20px 20px 30px #ff0000 + } + +body { + font-size: 10pt; + margin: 150 px; + color: white; + +} + +pre { + white-space: pre-wrap; +} +span.NN { + + color: white; + +} diff --git a/OTHERNESS/Proof/index-Copy1.md b/OTHERNESS/Proof/index-Copy1.md new file mode 100644 index 0000000..a0ba491 --- /dev/null +++ b/OTHERNESS/Proof/index-Copy1.md @@ -0,0 +1,117 @@ +This is the OTHERNESS section in Worlds For The Future
+ Back home or go to Text as a Map
+
+Otherness by Daniel L. Everett +

Everett's encountered the Otherness through a full-immersion experience into the language, the culture and the sorroundings of one ot the most unknown people in the world. The experience is a necessary transition to achieve the understanding of the alterity. Facing the "Other" affects our identity on the pre-built sense of "rightness", shaped first by family education. The text aims to explore, within an analytical and antropological framework, a dot sized sub-group of the human diversity.

+
Location of Pirahã's Sites on Maici River, Brazil. Foto: Ezequias Hering, 1981.
The current Pirahã population is approximately 360 people. During both the 1920s and the 1970s, the estimated number was 90. In 1985, the date of the first census, FUNAI ("Fundação Nacional do Índio - National Indian Foundation, governmental agency) counted 141 people, registering an equal distribution between the sexes (cf. Levinho, 1986). In the dry season, this population is spread out in small groups along the Maici and a long stretch of the Marmelos river, concentrating their activities on the harvesting of Brazil-nuts in the locations where the product is exploitable. Two large Pirahã populational groups divide the territory. A group of approximately 120 individuals inhabits the region formed by the Marmelos and the shores of the Maici, as far as a place named Cuatá. Another grouping, composed of 100 people, lives about two days boat journey away from this place (Cuatá), occupying at least four sites as far as the Transamazonian. Source: https://pib.socioambiental.org/en/Povo:Pirah%C3%A3
+ + + +# I + +When I was 26, I moved to the Amazon, from California, in order to study the language and culture of a people that were believed to be unrelated to any other people. I flew in a small missionary plane, a bumpy nausea-inducing ride, to meet the Pirahã people for the first time. My body was weak; my brain was taut with anxiety and anticipation. The Pirahãs are unrelated to any other. They speak a language that many linguists had unsuccessfully attempted to understand. My task would be to understand where little understanding currently existed. This encounter with these ‘others’ so unlike myself, was to be the defining experience for the rest of my life. + +Acampamento Pirahã, próximo a Transamazônica. Rio Maici. Foto: Ezequias Hering, 1981 + +One of the greatest challenges of our species is alterity, ‘otherness.’ All cultures for reasons easy enough to understand fear other cultures. War and conflict have defined humans for nearly two million years. When we encounter others unlike ourselves, we frequently become uncomfortable, suspicious. A new neighbor from another country. A friend of our child who has a different color. Someone whose gender is not a simple binary classification. This is an old problem. Jesus himself fell under suspicion for befriending a woman thought to be a prostitute, Mary Magdalene. She was unlike the religious people of Jesus's day. An ‘other.’ + +Those unlike ourselves may eat different food, be unintelligible to us when speaking to those more like themselves, build different-looking homes, or, in the view of some who most fears otherness, simply live ‘wrongly.’ To some, others are not only suspect, but their differences are morally unacceptable. When I first entered the Amazon as a missionary, this was my belief. Everyone needed Jesus and if they didn't believe in him, they were deservedly going to eternal torment. In my encounter with the Pirahãs, though I was uneasy, I realize now, ironically, that I was actually the dangerous one, the one who came with insufficient respect, with an ego-centric and ethno-centric view of my own ‘rightness.’ How fortunate for me that this gentle people disabused me of so many of my silly beliefs. Though this years-long encounter with the Pirahãs was to improve my life globally, it certainly didn't seem that way at first. + +During my first day among the Pirahãs I was taken by a young man to a fire by his hut. He pointed at a large rodent on the fire with its tongue still hanging out and a small pool of blood at the edge of the fire. The hair was burning off of the fresh kill. The young man uttered a then-unintelligible phrase: Gí obáaʔáí kohoáipi gíisai? Later I learned that this meant, "Do you know how to eat this?" And I also learned that if you don't want any offered food, you can simply say, "No, I don't know how to eat it." No one loses face. It is an easy, polite structure that allows you to avoid foods you don't want. Many other cultures, Western cultures for example, don't tend to be this polite. We often simply offer people things to eat and get offended if they refuse. Unlike among the Pirahãs, there is a more portent pressure in some Western cultures for a guest to eat whatever the host offers.

+ +

For almost all of us, we experience the world first through our mother. All that we touch, taste, hear, smell, see, and eventually come to know and understand begins with her and is mediated by her. As we develop of course we notice others close to our mother - our father, siblings, and others. But until our first experiences as individuals begin outside the home, our values, language, and ways of thinking all result from interactions with our mother and the select small group she is part of. These early apperceptions shape our subsequent lives. They lead not only to an individual sense of identity but also to a conception of what a ‘normal identity’ is. This is all very comfortable. We learn early on that new behavior and new information entail effort. Why listen to dissonant jazz when the steady 4/4 beat of country or rock is familiar? Why eat haggis instead of pot roast? Comfort food is just food that requires no gaining of acquired tastes. Why learn another language? Why make friends of a different color, a different sexual orientation, or a different nationality? Why should a professor make friends with a cowboy? These efforts go against the biological preference for expending as little energy as possible and maintenance of the status quo. The work of learning about otherness is worthwhile, but this is not always obvious initially. + +Adult Pirahãs drawing of a cat. + +# II + +Linguists recognized long ago that the first rule of language is that ‘we talk like who we talk with’. And other behavioral scientists have realized that ‘we eat like who we eat with’, ‘we create like who we think with’, and ‘we think like who we think with’. Our earliest associations teach us not only how to think, create, talk, and eat, but to evaluate normal or correct thinking, talking, eating, and creating based on our narrow range of experiences. The crucial differences between others and our in-group are values, language, social roles, and knowledge structures. All else emerges from these, or so I have claimed in my own writings. [^1] Each builds on the others as we learn them in the context of familiarity, a society of intimates (i.e. our family or our village). This leads to a conceptualization of our own identity. For example, I know in some way that I am Dan. Yet no one, not even ourselves, fully understands what it means to be ourselves. The construction of our identity through the familiar leads us to think of what is not us, not our family, not our norm. Inevitably, as our experience expands we meet others that do not fit neatly into our expectations. These are ‘the others.’ + +

In 1990, Columbia University psychologist Peter Gordon accompanied me to several Pirahã villages in order to conduct a pilot study of language learning among Pirahã children. We set up cameras on a hut, in full view, with the permission of its occupants, and started filming. We both were in the film, talking to the adults about their beliefs and children's behavior. After we were done filming, we noticed something that we had not seen before, because it was happening behind us. A toddler, perhaps a year and half old, was playing with a sharp kitchen knife with a 30cm blade. He was swinging it nonchalantly, almost stabbing himself in his face, legs, and midsection; occasionally swinging it close to his mother's face and back. We initially assumed that the mother didn't see her toddler's dangerous toy. But then, as she was talking to another woman, the camera recorded the baby dropping the knife and starting to cry. Barely glancing backwards at her child, the mother casually leaned over, picked the knife up off the ground and handed it back to the baby, who returned gleefully to his quasi-stabbing of himself. This was a confrontation of values for Peter and myself, underscoring the otherness divide between the Pirahãs and us. Wasn't the Pirahã mother concerned about her child's welfare? She was indeed. But to the Pirahãs a cut or non-life-threatening injury is the price that occasionally must be paid in order to learn the skills necessary to survive in the jungle. Would a Dutch mother give her child a sharp knife as a toy, believing that any piercing of the child's flesh would be compensated for by its contribution to the child's development? Could she even respect this other (m)otherness - the otherness at the root of our lives?

+ +

When I first encountered the Pirahãs, I learned the language by pointing and giving the name in English. I would pick up a stick and say, "stick." The Pirahãs, most of them anyway, would give me the translation in their language. Then I might let the stick drop to the ground and say, "the stick falls to the ground" or, "I throw the stick away" or, "two sticks drop to the ground," and so on. I would transcribe the responses and say them back at least three times to the speaker, making sure I had them right. I was able to follow their translations and also write down their comments. But the occasional speaker would ignore my request and instead say something that turned out to be even more interesting. Ɂaooí Ɂaohoaí sahaɁaí ɁapaitíisoɁabaɁáígio hiahoaáti, which means: "Do not talk with a crooked head. Talk with a straight head." The Pirahãs wanted me to talk like a person, not like a bizarre foreigner. Like an American tourist in France, the Pirahãs could not understand why I couldn't speak their language. Then one day a missionary plane had brought us some supplies in the jungle. Among those was lettuce. I was so excited to have greens. The Pirahãs eat no greens and think of them as worm food. I was cheerfully eating lettuce from a bowl when a Pirahã friend walked up and said, "That's why you don't speak Pirahã yet. We don't eat leaves."

+ +Daniel Everett's first annotations on Pirahãs spoken language, July 1995 + +

In other words, the Pirahã man believed that language emerges from culture as well as the entirety of our behavior as members of a society. This is a belief I have come to as well. They felt we could not learn their language at native level unless we became also part of their culture; and native level is what matters to them, there are no prizes for merely speaking their language intelligibly. This was against everything I had been taught about language in university courses, and it underscored the gap between them and me. Languages and cultures interact symbiotically, each affecting the other. Our sense of self and of society emerges from our enveloping culture and from the language and accents we hear most during our childhood development. The speed of our conversations and the structures of our interactions with others are formed in local communities of people like ourselves. The most comfortable conversations are with people who sound like you, put their phrases together as you do, and who reach similar conclusions.

+ +Originally published on Van Winkle's (October 2015)
+
+The phrase “good night” is ingrained in our cultural lexicon. These two words start out playing an essential role in early childhood by way of soothing and rhythmic classics such as Goodnight Moon and Good Night, Gorilla. They are often the last words we hear our parents whisper to us before we fall asleep.
+
+Among adults, they’re taken for granted as a universal social signifier — a way to wish our friends and family a restful sleep, or a pleasantry upon our departure from a social evening out, no matter where in the world we are.
+
+But in some cultures, no such words are spoken.
+
+Where? And why?
+In the language of one remote Amazonian tribe called the Pirahã (pronounced pee-da-HAN), there are no words for “good night.” This anomaly was first noted by linguistics professor Daniel Everett in his fascinating book, Don’t Sleep, There Are Snakes. In fact, the title itself echoes the words used by tribe members before they settle down for sleep. As Everett describes it:
+
+The Pirahãs say different things when they leave my hut at night on their way to bed. Sometimes they just say, “I’m going.” But frequently they use an expression… ”Don’t sleep, there are snakes.” The Pirahãs say this for two reasons. First they believe that by sleeping less they can “harden themselves,” a value they all share. Second, they know that danger is all around them in the jungle and that sleeping soundly can leave them defenseless.
+
+Everett has since referenced a common feature of most languages worldwide, called phatic communication — words used to create sociability and good will. For instance, we say, Hello, how are you? to express our connection and recognition that we’re in a setting in which others exist and are a part of our lives. These phrases serve as pleasantries. The person saying How are you? doesn’t actually want a laundry list of your illnesses or ailments.
+
+“The Pirahã lacks such expressions by and large,” Everett explains, though clearly “Don’t sleep, there are snakes,” while used half literally, is also being spoken half phatically. 
+
+Are their sleeping habits any different?
+                                                
+Indeed, their sleep pattern is unlike that in the modernized world. It’s common for tribe members to sleep for just an hour or two and then go about their activities, sleeping again when they get tired.
+
+“During the night it is rare, though not unheard of, for the entire village to be silent,” Everett says. “Usually, there will be some sleeping and some playing, some talking, some laughing all night long. There simply are no culturally defined sleep periods among the Pirahã.”
+
+Which could explain why it wouldn’t make sense to wish someone a good night if he or she were only lying down for a brief rest.
+
+Are there any other cultures that dispense with these niceties?
+According to Everett, another isolated Amazon tribe, the Banawa, as well as a handful of others, don’t have the equivalent words for “good night” in their language. And while it may be convenient to assume a lack of civilized sensibility, Everett says this isn’t the case. It’s just not important to them to say such things.
+
+The Pirahã language is different in several other ways as well. “They have no numbers, no fixed color terms, no perfect tense, no words for all, each, every, most or few — terms of quantification believed by some linguists to be among the common building blocks of human cognition.”
+
+Everett told The New Yorker, “I think one of the reasons that we haven’t found other groups like this is because we’ve been told, basically, that it’s not possible.”
+
+To us, “good night” is the only natural thing to say at day’s end, but different cultures and worldviews may require other words. In the case of the Pirahã, they’ve adopted more cautionary pleasantries.                                                
+Source: https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01209.x + + +

There are many ways in which we confront otherness. Strangers are not always people. Nature is often a foreigner to most of us and we can learn by submitting ourselves to it. One reason that I annually read the American Henry David Thoreau's Walden, my favorite book in all of American literature, is that Thoreau was so articulately different from me. That is irrelevant to Thoreau's account of his year alone. His year was a brilliant experiment. Thoreau did not remain at Walden. He returned to take up a fairly boring life as a handyman in the adjacent city of Concord, Massachusetts. Yet, the book he wrote is full brilliant observations based on the concepts of American Transcendentalism: the idea that people and nature are inherently good and that they are best when left alone by society and its institutions. Transcendentalism implies that as we come to know ourselves and remove the otherness of nature by experiencing it with all our senses. That our sense of oneness with others, as embodied in that very nature, grows. Thoreau's insights into his lessons from nature – as the stranger - teach us about what it means to live as a human, to be independent, and to occupy a part of the natural world. Through Thoreau we encounter the strangeness of a solitary life in nature. Oneness with ourselves and nature – and the others that are strange to us but are, like us, just part of nature – requires slow work of contemplation and experience that at once embraces the otherness of nature. It demands working towards removing this sense of otherness and embracing it as part of the oneness that we seek with the world around us.

+ +# III + +

Otherness, as I see it, is the spark of original thought and greater appreciation of nature, while the sense of oneness is the paradoxical goal of encounters with otherness. We need a sense of oneness of ourselves with nature to clearly see otherness, and we need otherness to build a more encompassing and panoramic sense of self and oneness with the world. Thoreau ignored society to know himself. Most of us ignore ourselves to be part of society. Thoreau eloquently expressed the loss that, being carried away by the demands of others and society, brings us to our sense of self. We think of conformity rather than our own unique identity and so blur who we are as individuals. Thoreau captured this well when he exclaimed that, "the one is more important than the million." That is, it is only as we each individually appreciate our oneness with the world, nature, and the other as part of this oneness that we can achieve the best individual life, and thus society.

+ +Recording of a conversation between Pirahãs and Daniel Everett. + +

Thoreau’s hut Walden stands still as light in the heart of the forest, a small cabin where one can sit and think and read and wonder about the reasons for living. Jungle nights were this light in my life, as I sat around campfires, talking in a language that was so hard for me to learn. Albert Camus said that the biggest mystery of philosophy is why not everyone commits suicide when honestly contemplating the futility of life. As a possible answer to his own question, Camus in his essay The Myth of Sisyphus, held up poor Sisyphus [^2] as an example of a good life. Sisyphus, after all, had an objective, one that entailed a measurable daily activity that always ended in the accomplishment of getting that rock up the hill. But Thoreau perspective rejects Camus's analysis. He saw no reason to count familiarity or predictability of social life, foods, or accomplishments as among the goals of life. They teach us little and change our behavior insignificantly. His example was that we learn most when we insert ourselves as aliens in new conceptual, cultural, and social environments (in his case, the absence of society). I am convinced that our lives become richer when they are less predictable. This is not to say that our lives are always predictable in the absence of the other. Otherness renders our expectations less fixed and requires more thinking, planning, and learning.

+ +

The Pirahãs would disagree. They believe that it is homogeneity that gives us comfort and keeps us strong physically and psychologically. Otherness vs. predictability, which is more desirable? In essence, we need both even if we’d construct a greater sense of oneness that embraces the unexpected. The two greatest forces of preserving and constructing cultures are imitation and innovation. When our environments, culturally and physically, are constant, innovation is rarely useful. Like biological mutations, cognitive and cultural innovations are usually unsuccessful. The effort to invent will usually isolate us as strange and less successful than those who merely imitate. Failed innovation in a society that most values imitation emphasizes our own ‘otherness’ and provides us with little advantage. As environments change – such as the ecology of the Pleistocene that so shaped our Homo ancestors, climate change today, the shifting political boundaries, or the intrusion of others into our environment – innovation becomes a more important force, providing new solutions to new problems that imitation alone is unable to provide. The Pirahãs live in an environment that has changed little over the centuries. They value conformity and imitation over innovation. Consequently their language has changed little over time. Records of their culture and language from the 18th century show a people identical to the people we encounter today, three centuries later.

+ +Members of the Pirahã tribe use a “one-two-many” system of counting. I ask whether speakers of this innumerate language can appreciate larger numerosities without the benefit of words to encode them. This addresses the classic Whorfian question about whether language can determine thought. Results of numerical tasks with varying cognitive demands show that numerical cognition is clearly affected by the lack of a counting system in the language. Performance with quantities greater than three was remarkably poor, but showed a constant coefficient of variation, which is suggestive of an analog estimation process.
+
+Results of number tasks with Pirahã villagers (n 0 7). Rectangles indicate AA batteries (5.0 cm by 1.4 cm), and circles indicate ground nuts. Center line indicates a stick between the author's example array (below the line) and the participant's attempt to ''make it the same'' (above the line). Tasks A through D required the participant to match the lower array presented by the author using a line of batteries; task E was similar, but involved the unfamiliar task of copying lines drawn on paper; task F was a matching task where the participant saw the numerical display for only about 1 s before it was hidden behind a screen; task G involved putting nuts into a can and withdrawing them one by one; (participants responded after each withdrawal as to whether the can still contained nuts or was empty); task H involved placing candy inside a box with a number of fish drawn on the lid (this was then hidden and brought out again with another box with one more or one less fish on the lid, and participants had to choose which box contained the candy). + +

In environments that, especially culturally, change at light speed we need to learn to think, speak, act differently, and innovate in multiple areas simultaneously as the changes we encounter transform our familiar environment into ‘an other’. Every day brings problems that we never faced before. Diversity of experiences and encounters with others inspire new ways of thinking and new forms of living. If we all look the same, talk the same, value the same things, paint the same pictures, dance the same dances, and hear the same music then we are simply imitators falling behind the challenges of our world. This applies to all of us whether we are hunter-gatherers in the Amazon or advertising agents in New York City. It blinds us to new forms of beauty. What we see around us, with the rise of anti-immigration political movements in Europe and the USA is, at least partially, a fear of otherness. Our preference is for conformity and imitation; our fear then itself arises from that preference in contrast to otherness and the greater steps towards an ever more encompassing oneness of the type that motivated Thoreau. However, the ultimate engine of innovation is otherness – of people, food, environments, art, and culture – it strengthens us and prospers us.

+ +

Our languages and cognitive abilities expand as we learn new vocabularies and new values by talking to people and experiencing their relationships to nature that are unlike our own. Human language emerged within the Homo line because it was the only creature to embrace otherness as to actively explore for the sake of exploration; to seek encounters with otherness. As Homo erectus sailed to islands beyond the horizon it invented symbols and language to cope with the greater need for communal efforts to expand experiences. Language change is an indication of cultural change (and cultural change will change language). Together, they amplify our species ability to innovate and survive. All that we are is the result of our human embrace of the other, the love of alterity that makes us distinct from all other creatures. Alterity is one of our greatest fears. And yet it should be our greatest treasure.

+ +
+ Daniel Everett at the University of Campinas + +Daniel L. Everett (USA) is a linguist and author best known for +his study of the Amazon Basin’s Pirahã people and their language. +His extensive writings about the experience of living among this +tribe and learning their culture and language – among which his +book Don’t Sleep, There Are Snakes: Life and Language in the +Amazonian Jungle, has been met with controversy among linguist, +biologists and other scientists worldwide. He has continued to +research language as a cultural tool and developed student guides +for linguistic fieldwork. Everett has taught at several universities +and since 2010 has been the dean of Arts and Sciences at Bentley +University. In 2016, the University of Chicago press published +Everett’s book Dark Matter of the Mind: the Culturally Articulated +Unconscious. His latest book How Language Began is an attempt to +trace back and tell the history of the origin and nature of language +(coming Fall 2017). +
+ + +[^1]: For Everett’s writings see among other titles: *Everett, Daniel. Don’t sleep, there are snakes: life and language in the Amazonian jungle* (2008). Pantheon Books, New York. + +[^2]: The doomed soul in Greek mythology who had the repetitive job of daily pushing a huge stone up a hill only to see it roll down at the end of his efforts and leave him with the same task to perform the next day. \ No newline at end of file diff --git a/OTHERNESS/Proof/index.condidascalie.md b/OTHERNESS/Proof/index.condidascalie.md new file mode 100644 index 0000000..ebf1db9 --- /dev/null +++ b/OTHERNESS/Proof/index.condidascalie.md @@ -0,0 +1,201 @@ +OTHERNESS - Wor(l)ds +          For The Future See. the original Text or go to Text as a Map +

Experience is the necessary transition to achieve the understanding of the alterity. Facing the "Other" affects our identity on the pre-built sense of "rightness", shaped first by family education.
Note: Some of the original references to the people and places along the story have been erased to make space for your individual perspective.

+
+
+ + Fig.1 (Background) + +Location of Pirahã's Sites on Maici River, Brazil. Foto: Ezequias Hering, 1981.
The current Pirahã population is approximately 360 people. During both the 1920s and the 1970s, the estimated number was 90. In 1985, the date of the first census, FUNAI ("Fundação Nacional do Índio - National Indian Foundation, governmental agency) counted 141 people, registering an equal distribution between the sexes (cf. Levinho, 1986). In the dry season, this population is spread out in small groups along the Maici and a long stretch of the Marmelos river, concentrating their activities on the harvesting of Brazil-nuts in the locations where the product is exploitable. Two large Pirahã populational groups divide the territory. A group of approximately 120 individuals inhabits the region formed by the Marmelos and the shores of the Maici, as far as a place named Cuatá. Another grouping, composed of 100 people, lives about two days boat journey away from this place (Cuatá), occupying at least four sites as far as the Transamazonian. Source +
+ +Otherness by Daniel L. Everett + +Acampamento Pirahã, próximo a Transamazônica. Rio Maici. Foto: Ezequias Hering, 1981 +
+
+
+ + Fig.2 + +

+Acampamento Pirahã, próximo a Transamazônica. Rio Maici. Foto: Ezequias Hering, 1981 +

+
+
+
+When I was 26, I moved to the , from , in order to study the language and culture of a people that were believed to be unrelated to any other people. I flew in a small missionary plane, a bumpy nausea-inducing ride, to meet people for the first time. My body was weak; my brain was taut with anxiety and anticipation. The are unrelated to any other. They speak a language that many linguists had unsuccessfully attempted to understand. My task would be to understand where little understanding currently existed. This encounter with these ‘others’ so unlike myself, was to be the defining experience for the rest of my life. + +One of the greatest challenges of our species is alterity, ‘otherness.’ All cultures for reasons easy enough to understand fear other culturesR. War and conflict have defined humans for nearly two million years. When we encounter others unlike ourselves, we frequently become uncomfortable, suspicious. A new neighbor from another country. A friend of our child who has a different color. Someone whose gender is not a simple binary classification. This is an old problem. Jesus himself fell under suspicion for befriending a woman thought to be a prostitute, Mary Magdalene. She was unlike the religious people of Jesus's day. An ‘other.’ + +
+
+
+ + Otherness = Alterity + +

+The "other of two" (Latin alter). It is also increasingly being used in media to express something other than "sameness", or something outside of tradition or convention. +

+
+
+
+Those unlike ourselves may eat different food, be unintelligible to us when speaking to those more like themselves, build different-looking homes, or, in the view of some who most fears otherness, simply live ‘wrongly.’ To some, others are not only suspect, but their differences are morally unacceptable. When I first entered the as a , this was my belief. Everyone needed and if they didn't believe in him, they were deservedly going to eternal torment. In my encounter with the , though I was uneasy, I realize now, ironically, that I was actually the dangerous one, the one who came with insufficient respect, with an ego-centric and ethno-centric view of my own ‘rightness.’ How fortunate for me that this gentle people disabused me of so many of my silly beliefs. Though this years-long encounter with the Pirahãs was to improve my life globally, it certainly didn't seem that way at first. + +During my first day among the I was taken by a young man to a fire by his hut. He pointed at a large rodent on the fire with its tongue still hanging out and a small pool of blood at the edge of the fire. The hair was burning off of the fresh kill. The young man uttered a then-unintelligible phrase: Gí obáaʔáí kohoáipi gíisai? Later I learned that this meant, "Do you know how to eat this?" And I also learned that if you don't want any offered food, you can simply say, "No, I don't know how to eat it." No one loses face. It is an easy, polite structure that allows you to avoid foods you don't wantA. Many other cultures, Western cultures for example, don't tend to be this polite. We often simply offer people things to eat and get offended if they refuse. Unlike among the , there is a more portent pressure in some Western cultures for a guest to eat whatever the host offers. + +

For almost all of us, we experience the world first through our mother. All that we touch, taste, hear, smell, see, and eventually come to know and understand begins with her and is mediated by her. As we develop of course we notice others close to our mother - our father, siblings, and others. But until our first experiences as individuals begin outside the home, our values, languageM, and ways of thinking all result from interactions with our mother and the select small group she is part of. These early apperceptions shape our subsequent lives. They lead not only to an individual sense of identity but also to a conception of what a ‘normal identity’ is. This is all very comfortable. We learn early on that new behavior and new information entail effort. Why listen to dissonant jazz when the steady 4/4 beat of country or rock is familiar? Why eat haggis instead of pot roast? Comfort food is just food that requires no gaining of acquired tastes. Why learn another language? Why make friends of a different color, a different sexual orientation, or a different nationality? Why should a professor make friends with a cowboy? These efforts go against the biological preference for expending as little energy as possible and maintenance of the status quo. The work of learning about otherness is worthwhile, but this is not always obvious initially. + +Adult Pirahãs drawing of a cat. +

+
+
+ + Fig.3 + +

+The Pirahã language challenges simplistic application of Hockett's nearly universally accepted +design features of human language by showing that some of these features +(interchangeability, displacement, and productivity) may be culturally constrained. In +particular, Pirahã culture constrains communication to nonabstract subjects which fall within +the immediate experience of interlocutors. This constraint explains a number of very +surprising features of Pirahã grammar and culture: the absence of numbers of any kind or a +concept of counting and of any terms for quantification, the absence of color terms, the +absence of embedding, the simplest pronoun inventory known, the absence of "relative +tenses," the simplest kinship system yet documented, the absence of creation myths and +fiction, the absence of any individual or collective memory of more than two generations +past, the absence of drawing or other art and one of the simplest material cultures +documented, and the fact that the Pirahã are monolingual after more than 200 years of +regular contact with Brazilians and the Tupi-Guarani-speaking Kawahiv. Source +

+
+
+
+Linguists recognized long ago that the first rule of language is that ‘we talk like who we talk with’. And other behavioral scientists have realized that ‘we eat like who we eat with’, ‘we create like who we think with’, and ‘we think like who we think with’. Our earliest associations teach us not only how to think, create, talk, and eat, but to evaluate normal or correct thinking, talking, eating, and creating based on our narrow range of experiences. The crucial differences between others and our in-group are values, language, social roles, and knowledge structuresL. All else emerges from these, or so I have claimed in my own writings. [^1] Each builds on the others as we learn them in the context of familiarity, a society of intimates (i.e. our family or our village). This leads to a conceptualization of our own identity. +. For example, I know in some way that I am Dan. Yet no one, not even ourselves, fully understands what it means to be ourselves. The construction of our identityH through the familiar leads us to think of what is not us, not our family, not our norm. Inevitably, as our experience expands we meet others that do not fit neatly into our expectations. These are ‘the others.’ + +

In 1990, accompanied me to several villages in order to conduct a pilot study of language learning among . We set up cameras on a hut, in full view, with the permission of its occupants, and started filming. We both were in the film, talking to the adults about their beliefs and children's behavior. After we were done filming, we noticed something that we had not seen before, because it was happening behind us. A toddler, perhaps a year and half old, was playing with a sharp kitchen knife with a 30cm blade. He was swinging it nonchalantly, almost stabbing himself in his face, legs, and midsection; occasionally swinging it close to his mother's face and back. We initially assumed that the mother didn't see her toddler's dangerous toy. But then, as she was talking to another woman, the camera recorded the baby dropping the knife and starting to cry. Barely glancing backwards at her child, the mother casually leaned over, picked the knife up off the ground and handed it back to the baby, who returned gleefully to his quasi-stabbing of himself. This was a confrontation of valuesP for Peter and myself, underscoring the otherness divide between the and us. Wasn't the mother concerned about her child's welfare? She was indeed. But to the a cut or non-life-threatening injury is the price that occasionally must be paid in order to learn the skills necessary to survive in the jungle. Would a Dutch mother give her child a sharp knife as a toy, believing that any piercing of the child's flesh would be compensated for by its contribution to the child's development? Could she even respect this other (m)otherness - the otherness at the root of our lives?

+Daniel Everett's first annotations on Pirahãs spoken language, July 1995 +
+
+
+ + Fig.4 + +

+Daniel Everett's first annotations on Pirahãs spoken language, July 1995 +

+
+
+
+ +

When I first encountered the , I learned the language by pointing and giving the name in English. I would pick up a stick and say, "stick." The , most of them anyway, would give me the translation in their languageT. Then I might let the stick drop to the ground and say, "the stick falls to the ground" or, "I throw the stick away" or, "two sticks drop to the ground," and so on. I would transcribe the responses and say them back at least three times to the speaker, making sure I had them right. I was able to follow their translations and also write down their comments. But the occasional speaker would ignore my request and instead say something that turned out to be even more interesting. Ɂaooí Ɂaohoaí sahaɁaí ɁapaitíisoɁabaɁáígio hiahoaáti, which means: "Do not talk with a crooked head. Talk with a straight head." The wanted me to talk like a person, not like a bizarre foreigner. Like an American tourist in France, the Pirahãs could not understand why I couldn't speak their language. Then one day a missionary plane had brought us some supplies in the jungle. Among those was lettuce. I was so excited to have greens. The eat no greens and think of them as worm food. I was cheerfully eating lettuce from a bowl when a friend walked up and said, "That's why you don't speak yet. We don't eat leaves."

+ +
+
+
+ + Fun Fact + +

+All Pirahã people know the name of every single species of flora and fauna in their environment. This is because these words are central to their way of life. Not having the ability to count money has no effect on their lives because they just have no need for it or the words used to describe it. +

+
+
+
+ +

In other words, the man believed that language emerges from culture as well as the entirety of our behavior as members of a society. This is a belief I have come to as well. They felt we could not learn their language at native level unless we became also part of their culture; and native level is what matters to them, there are no prizes for merely speaking their language intelligibly. This was against everything I had been taught about language in university courses, and it underscored the gap between them and me. Languages and cultures interact symbioticallyM, each affecting the other. Our sense of self and of society emerges from our enveloping culture and from the language and accents we hear most during our childhood developmentL. The speed of our conversations and the structures of our interactions with others are formed in local communities of people like ourselves. The most comfortable conversations are with people who sound like you, put their phrases together as you do, and who reach similar conclusions.

+ +
+ +
+
+ + Fig.5 + +

The phrase “good night” is ingrained in our cultural lexicon. These two words start out playing an essential role in early childhood by way of soothing and rhythmic classics such as Goodnight Moon and Good Night, Gorilla. They are often the last words we hear our parents whisper to us before we fall asleep. Among adults, they’re taken for granted as a universal social signifier — a way to wish our friends and family a restful sleep, or a pleasantry upon our departure from a social evening out, no matter where in the world we are. For Pirahãs, there are no words for “good night.” This anomaly was first noted by linguistics professor Daniel Everett in his fascinating book, Don’t Sleep, There Are Snakes. In fact, the title itself echoes the words used by tribe members before they settle down for sleep.
+The Pirahãs say different things when they leave my hut at night on their way to bed. Sometimes they just say, “I’m going.” But frequently they use an expression… ”Don’t sleep, there are snakes.” The Pirahãs say this for two reasons. First they believe that by sleeping less they can “harden themselves,” a value they all share. Second, they know that danger is all around them in the jungle and that sleeping soundly can leave them defenseless.
+Indeed, their sleep pattern is unlike that in the modernized world. It’s common for tribe members to sleep for just an hour or two and then go about their activities, sleeping again when they get tired. +“During the night it is rare, though not unheard of, for the entire village to be silent,” Everett says. “Usually, there will be some sleeping and some playing, some talking, some laughing all night long. There simply are no culturally defined sleep periods among the Pirahã.” Which could explain why it wouldn’t make sense to wish someone a good night if he or she were only lying down for a brief rest. Source +

+
+
+
+ +

There are many ways in which we confront otherness. Strangers are not always people. Nature is often a foreigner to most of us and we can learn by submitting ourselves to it. One reason that I annually read the American Henry David Thoreau's Walden, my favorite book in all of American literature, is that Thoreau was so articulately different from me. That is irrelevant to Thoreau's account of his year alone. His year was a brilliant experiment. Thoreau did not remain at Walden. He returned to take up a fairly boring life as a handyman in the adjacent city of Concord, Massachusetts. Yet, the book he wrote is full brilliant observations based on the concepts of American Transcendentalism: the idea that people and nature are inherently good and that they are best when left alone by society and its institutions. Transcendentalism implies that as we come to know ourselves and remove the otherness of nature by experiencing it with all our senses. That our sense of onenessA with others, as embodied in that very nature, grows. Thoreau's insights into his lessons from nature – as the stranger - teach us about what it means to live as a human, to be independent, and to occupy a part of the natural world. Through Thoreau we encounter the strangeness of a solitary life in nature. Oneness with ourselves and nature – and the others that are strange to us but are, like us, just part of nature – requires slow work of contemplation and experience that at once embraces the otherness of nature. It demands working towards removing this sense of otherness and embracing it as part of the oneness that we seek with the worldE around us.

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+ + Summary + +

+Otherness is related to anything considered as stranger, referring both living creatures and material things to. Embrace the otherness of nature makes our sense of oneness with others flourish. +

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Otherness, as I see it, is the spark of original thought and greater appreciation of natureL, while the sense of oneness is the paradoxical goal of encounters with otherness. We need a sense of oneness of ourselves with nature to clearly see otherness, and we need otherness to build a more encompassing and panoramic sense of self and oneness with the world. Thoreau ignored society to know himself. Most of us ignore ourselves to be part of society. Thoreau eloquently expressed the loss that, being carried away by the demands of others and society, brings us to our sense of self. We think of conformity rather than our own unique identity and so blur who we are as individuals. Thoreau captured this well when he exclaimed that, "the one is more important than the million." That is, it is only as we each individually appreciate our oneness with the world, nature, and the other as part of this oneness that we can achieve the best individual life, and thus society.
+

+ +
+Recording of a conversation between Pirahãs and Daniel Everett. +
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+ + Fig.6 + +

+The Pirahã people can communicate through humming, singing and whistling information to one another and their vocabulary covers everything in their own environment. +

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Thoreau’s hut Walden stands still as light in the heart of the forest, a small cabin where one can sit and think and read and wonder about the reasons for living. Jungle nights were this light in my life, as I sat around campfires, talking in a language that was so hard for me to learnP. Albert Camus said that the biggest mystery of philosophy is why not everyone commits suicide when honestly contemplating the futility of life. As a possible answer to his own question, Camus in his essay The Myth of Sisyphus, held up poor Sisyphus [^2] as an example of a good life. Sisyphus, after all, had an objective, one that entailed a measurable daily activity that always ended in the accomplishment of getting that rock up the hill. But Thoreau perspective rejects Camus's analysis. He saw no reason to count familiarity or predictability of social life, foods, or accomplishments as among the goals of life. They teach us little and change our behavior insignificantly. His example was that we learn most when we insert ourselves as aliens in new conceptual, cultural, and social environments (in his case, the absence of society). I am convinced that our lives become richer when they are less predictable. This is not to say that our lives are always predictable in the absence of the other. Otherness renders our expectations less fixed and requires more thinking, planning, and learning.

+ +

The would disagree. They believe that it is homogeneity that gives us comfort and keeps us strong physically and psychologically. Otherness vs. predictability, which is more desirable? In essence, we need both even if we’d construct a greater sense of oneness that embraces the unexpected. The two greatest forces of preserving and constructing cultures are imitation and innovationL. When our environments, culturally and physically, are constant, innovation is rarely useful. Like biological mutations, cognitive and cultural innovations are usually unsuccessful. The effort to invent will usually isolate us as strange and less successful than those who merely imitate. Failed innovation in a society that most values imitation emphasizes our own ‘otherness’ and provides us with little advantage. As environments change – such as the ecology of the Pleistocene that so shaped our Homo ancestors, climate change today, the shifting political boundaries, or the intrusion of others into our environment – innovation becomes a more important force, providing new solutions to new problems that imitation alone is unable to provide. The live in an environment that has changed little over the centuries. They value conformity and imitation over innovation. Consequently their language has changed little over time. Records of their culture and language from the 18th century show a people identical to the people we encounterU today, three centuries later.

+ +
+Pirahã Results +
+
+ + Fig.7 + + +Results of numerical tasks with varying cognitive demands show that numerical cognition is clearly affected by the lack of a counting system in the language. Performance with quantities greater than three was remarkably poor, but showed a constant coefficient of variation, which is suggestive of an analog estimation process.
+Results of number tasks with Pirahã villagers (n 0 7). Rectangles indicate AA batteries (5.0 cm by 1.4 cm), and circles indicate ground nuts. Center line indicates a stick between the author's example array (below the line) and the participant's attempt to ''make it the same'' (above the line). Tasks A through D required the participant to match the lower array presented by the author using a line of batteries; task E was similar, but involved the unfamiliar task of copying lines drawn on paper; task F was a matching task where the participant saw the numerical display for only about 1 s before it was hidden behind a screen; task G involved putting nuts into a can and withdrawing them one by one; (participants responded after each withdrawal as to whether the can still contained nuts or was empty); task H involved placing candy inside a box with a number of fish drawn on the lid (this was then hidden and brought out again with another box with one more or one less fish on the lid, and participants had to choose which box contained the candy).
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In environments that, especially culturally, change at light speed we need to learn to think, speak, act differently, and innovate in multiple areas simultaneously as the changes we encounter transform our familiar environment into ‘an other’. Every day brings problems that we never faced before. Diversity of experiences and encounters with others inspire new ways of thinking and new forms of living. If we all look the same, talk the same, value the same things, paint the same pictures, dance the same dances, and hear the same music then we are simply imitators falling behind the challenges of our world. This applies to all of us whether we are hunter-gatherers in the Amazon or advertising agents in New York City. It blinds us to new forms of beauty. What we see around us, with the rise of anti-immigration political movements in Europe and the USA is, at least partially, a fear of otherness. Our preference is for conformity and imitation; our fear then itself arises from that preference in contrast to otherness and the greater steps towards an ever more encompassing oneness of the type that motivated Thoreau. However, the ultimate engine of innovation is otherness – of people, food, environments, art, and culture – it strengthens us and prospers us.

+ +

Our languages and cognitive abilities expand as we learn new vocabularies and new values by talking to people and experiencing their relationships to natureR that are unlike our own. Human language emerged within the Homo line because it was the only creature to embrace otherness as to actively explore for the sake of exploration; to seek encounters with otherness. As Homo erectus sailed to islands beyond the horizon it invented symbols and language to cope with the greater need for communal efforts to expand experiences. Language change is an indication of cultural change (and cultural change will change language). Together, they amplify our species ability to innovate and survive. All that we are is the result of our human embrace of the other, the love of alterity that makes us distinct from all other creatures. Alterity is one of our greatest fears. And yet it should be our greatest treasure.

+ +
+ Daniel Everett at the University of Campinas + +Daniel L. Everett (USA) is a linguist and author best known for +his study of the Amazon Basin’s Pirahã people and their language. +His extensive writings about the experience of living among this +tribe and learning their culture and language – among which his +book Don’t Sleep, There Are Snakes: Life and Language in the +Amazonian Jungle, has been met with controversy among linguist, +biologists and other scientists worldwide. He has continued to +research language as a cultural tool and developed student guides +for linguistic fieldwork. Everett has taught at several universities +and since 2010 has been the dean of Arts and Sciences at Bentley +University. In 2016, the University of Chicago press published +Everett’s book Dark Matter of the Mind: the Culturally Articulated +Unconscious. His latest book How Language Began is an attempt to +trace back and tell the history of the origin and nature of language +(coming Fall 2017). +
+ +[^1]: For Everett’s writings see among other titles: *Everett, Daniel. Don’t sleep, there are snakes: life and language in the Amazonian jungle* (2008). Pantheon Books, New York. + +[^2]: The doomed soul in Greek mythology who had the repetitive job of daily pushing a huge stone up a hill only to see it roll down at the end of his efforts and leave him with the same task to perform the next day. diff --git a/OTHERNESS/Proof/linkforpdfok.md b/OTHERNESS/Proof/linkforpdfok.md new file mode 100644 index 0000000..c095ad5 --- /dev/null +++ b/OTHERNESS/Proof/linkforpdfok.md @@ -0,0 +1,4 @@ +This is the OTHERNESS section in Worlds For The Future
+ Back home or go to Text as a Map
+ Nouns + diff --git a/OTHERNESS/Proof/text-Copy1.css b/OTHERNESS/Proof/text-Copy1.css new file mode 100644 index 0000000..9f96cdb --- /dev/null +++ b/OTHERNESS/Proof/text-Copy1.css @@ -0,0 +1,22 @@ +body { + background: url('Imageresearch/Quantity.recognition.background.png'); + background-size: 1400px, 500px; + background-repeat: no-repeat; + background-attachment: fixed; + + margin: 5px; + color: black; + font-family: monospace; + font-size: 10pt; + text-justify: inter-word; + columns: 3; + } + +h1 { + font-family: sans-serif; + color: black; + } + +.bio { + font-size: 7pt; + } diff --git a/OTHERNESS/Publish.ipynb b/OTHERNESS/Publish.ipynb new file mode 100644 index 0000000..da46530 --- /dev/null +++ b/OTHERNESS/Publish.ipynb @@ -0,0 +1,115 @@ +{ + "cells": [ + { + "cell_type": "code", + "execution_count": 23, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "[WARNING] This document format requires a nonempty element.\n", + " Please specify either 'title' or 'pagetitle' in the metadata.\n", + " Falling back to 'index'\n" + ] + } + ], + "source": [ + "! pandoc index.md --standalone --css text.css -o index.html\n" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "https://hub.xpub.nl/sandbot/words-for-the-future/OTHERNESS/" + ] + }, + { + "cell_type": "code", + "execution_count": 24, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "[WARNING] This document format requires a nonempty <title> element.\n", + " Please specify either 'title' or 'pagetitle' in the metadata.\n", + " Falling back to 'index_nouns'\n" + ] + } + ], + "source": [ + "! pandoc index_nouns.md --standalone --css text.nouns.css -o index_nouns.html" + ] + }, + { + "cell_type": "code", + "execution_count": 28, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "[WARNING] This document format requires a nonempty <title> element.\n", + " Please specify either 'title' or 'pagetitle' in the metadata.\n", + " Falling back to 'indexOG'\n" + ] + } + ], + "source": [ + "! pandoc indexOG.md --standalone --css text.css -o indexOG.html" + ] + }, + { + "cell_type": "code", + "execution_count": 26, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "[WARNING] This document format requires a nonempty <title> element.\n", + " Please specify either 'title' or 'pagetitle' in the metadata.\n", + " Falling back to 'index.island'\n" + ] + } + ], + "source": [ + "! pandoc index.island.md --standalone --css text.css -o index.island.html" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + } + ], + "metadata": { + "kernelspec": { + "display_name": "Python 3", + "language": "python", + "name": "python3" + }, + "language_info": { + "codemirror_mode": { + "name": "ipython", + "version": 3 + }, + "file_extension": ".py", + "mimetype": "text/x-python", + "name": "python", + "nbconvert_exporter": "python", + "pygments_lexer": "ipython3", + "version": "3.7.3" + } + }, + "nbformat": 4, + "nbformat_minor": 4 +} diff --git a/OTHERNESS/index-beforedeletingdid.md b/OTHERNESS/index-beforedeletingdid.md new file mode 100644 index 0000000..ee7ac8f --- /dev/null +++ b/OTHERNESS/index-beforedeletingdid.md @@ -0,0 +1,201 @@ +<span class="bottom">Otherness - <a style="position: fixed; color:blue;" href = "../">Wor(l)ds</a> +</span><span class="bottom">          For The Future.<br>See</span> <a href="indexOG.html">the original Text</a> or go to <a href="index_nouns.html">Text as a Map</a></span> +<h1><del>Experience is the necessary transition to achieve the understanding of the alterity. Facing the "Other" affects our identity on the pre-built sense of "rightness", shaped first by family education.</del> <br> Note: Some of the original references to the people and places along the story have been erased to make space for your individual perspective. </h1> +<div class="dida"><section> + <details> + <summary> + Fig.1 (Background) + </summary> +Location of Pirahã's Sites on Maici River, Brazil. Foto: Ezequias Hering, 1981. <br> The current Pirahã population is approximately 360 people. During both the 1920s and the 1970s, the estimated number was 90. In 1985, the date of the first census, FUNAI ("Fundação Nacional do Índio - National Indian Foundation, governmental agency) counted 141 people, registering an equal distribution between the sexes (cf. Levinho, 1986). In the dry season, this population is spread out in small groups along the Maici and a long stretch of the Marmelos river, concentrating their activities on the harvesting of Brazil-nuts in the locations where the product is exploitable. Two large Pirahã populational groups divide the territory. A group of approximately 120 individuals inhabits the region formed by the Marmelos and the shores of the Maici, as far as a place named Cuatá. Another grouping, composed of 100 people, lives about two days boat journey away from this place (Cuatá), occupying at least four sites as far as the Transamazonian. <a href="https://pib.socioambiental.org/en/Povo:Pirah%C3%A3">Source</a> + </div> + </details> +Otherness by <input type="yourname" class="yourname"/ style="background-color:black;color:white"> + +<img src="Imageresearch/piraha.brasil.png" alt="Acampamento Pirahã, próximo a Transamazônica. Rio Maici. Foto: Ezequias Hering, 1981"> +<div class="dida"> +<section> + <details> + <summary> + Fig.2 + </summary> + <p> +Acampamento Pirahã, próximo a Transamazônica. Rio Maici. Foto: Ezequias Hering, 1981 + </p> + </details> +</section> +</div> +When I was 26, I moved to the <input type="place" class="place"/ style="background-color:black;color:white">, from <input type="place" class="place"/ style="background-color:black;color:white">, in order to study the language and culture of a people that were believed to be unrelated to any other people. I flew in a small missionary plane, a bumpy nausea-inducing ride, to meet <input type="people" class="people"/ style="background-color:black;color:white"> people for the first time. My body was weak; my brain was taut with anxiety and anticipation. The <input type="people" class="people"/ style="background-color:black;color:white"> are unrelated to any other. They speak a language that many linguists had unsuccessfully attempted to understand. My task would be to understand where little understanding currently existed. This encounter with these ‘others’ so unlike myself, was to be the defining experience for the rest of my life. + +One of the greatest challenges of our species is alterity, ‘otherness.’ All cultures for reasons easy enough to understand fear other cultures<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../RESURGENCE/">R</a>. War and conflict have defined humans for nearly two million years. When we encounter others unlike ourselves, we frequently become uncomfortable, suspicious. A new neighbor from another country. A friend of our child who has a different color. Someone whose gender is not a simple binary classification. This is an old problem. Jesus himself fell under suspicion for befriending a woman thought to be a prostitute, Mary Magdalene. She was unlike the religious people of Jesus's day. An ‘other.’ + +<div class="dida"> +<section> + <details> + <summary> + Otherness = Alterity + </summary> + <h1> +The "other of two" (Latin alter). It is also increasingly being used in media to express something other than "sameness", or something outside of tradition or convention. + </h1> + </details> +</section> +</div> +Those unlike ourselves may eat different food, be unintelligible to us when speaking to those more like themselves, build different-looking homes, or, in the view of some who most fears otherness, simply live ‘wrongly.’ To some, others are not only suspect, but their differences are morally unacceptable. When I first entered the <input type="place" class="place"/ style="background-color:black;color:white"> as a <input type="mission" class="mission"/ style="background-color:black;color:white">, this was my belief. Everyone needed <input type="what" class="what"/ style="background-color:black;color:white"> and if they didn't believe in him, they were deservedly going to eternal torment. In my encounter with the <input type="people" class="people"/ style="background-color:black;color:white">, though I was uneasy, I realize now, ironically, that I was actually the dangerous one, the one who came with insufficient respect, with an ego-centric and ethno-centric view of my own ‘rightness.’ How fortunate for me that this gentle people disabused me of so many of my silly beliefs. Though this years-long encounter with the Pirahãs was to improve my life globally, it certainly didn't seem that way at first. + +During my first day among the <input type="people" class="people"/ style="background-color:black;color:white"> I was taken by a young man to a fire by his hut. He pointed at a large rodent on the fire with its tongue still hanging out and a small pool of blood at the edge of the fire. The hair was burning off of the fresh kill. The young man uttered a then-unintelligible phrase: Gí obáaʔáí kohoáipi gíisai? Later I learned that this meant, "Do you know how to eat this?" And I also learned that if you don't want any offered food, you can simply say, "No, I don't know how to eat it." No one loses face. It is an easy, polite structure that allows you to avoid foods you don't want<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../ATATA/">A</a>. Many other cultures, Western cultures for example, don't tend to be this polite. We often simply offer people things to eat and get offended if they refuse. Unlike among the <input type="people" class="people"/ style="background-color:black;color:white">, there is a more portent pressure in some Western cultures for a guest to eat whatever the host offers. + +<p>For almost all of us, we experience the world first through our mother. All that we touch, taste, hear, smell, see, and eventually come to know and understand begins with her and is mediated by her. As we develop of course we notice others close to our mother - our father, siblings, and others. But until our first experiences as individuals begin outside the home, our values, language<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../--/">M</a>, and ways of thinking all result from interactions with our mother and the select small group she is part of. These early apperceptions shape our subsequent lives. They lead not only to an individual sense of identity but also to a conception of what a ‘normal identity’ is. This is all very comfortable. We learn early on that new behavior and new information entail effort. Why listen to dissonant jazz when the steady 4/4 beat of country or rock is familiar? Why eat haggis instead of pot roast? Comfort food is just food that requires no gaining of acquired tastes. Why learn another language? Why make friends of a different color, a different sexual orientation, or a different nationality? Why should a professor make friends with a cowboy? These efforts go against the biological preference for expending as little energy as possible and maintenance of the status quo. The work of learning about otherness is worthwhile, but this is not always obvious initially. + +<img src="Imageresearch/everett.cat.png" alt="Adult Pirahãs drawing of a cat."> +<div class="dida"> +<section> + <details> + <summary> + Fig.3 + </summary> + <p> +The Pirahã language challenges simplistic application of Hockett's nearly universally accepted +design features of human language by showing that some of these features +(interchangeability, displacement, and productivity) may be culturally constrained. In +particular, Pirahã culture constrains communication to nonabstract subjects which fall within +the immediate experience of interlocutors. This constraint explains a number of very +surprising features of Pirahã grammar and culture: the absence of numbers of any kind or a +concept of counting and of any terms for quantification, the absence of color terms, the +absence of embedding, the simplest pronoun inventory known, the absence of "relative +tenses," the simplest kinship system yet documented, the absence of creation myths and +fiction, the absence of any individual or collective memory of more than two generations +past, the absence of drawing or other art and one of the simplest material cultures +documented, and the fact that the Pirahã are monolingual after more than 200 years of +regular contact with Brazilians and the Tupi-Guarani-speaking Kawahiv. <a href="https://gawron.sdsu.edu/fundamentals/course_core/readings/PHGrCult.pdf">Source</a> + </p> + </details> +</section> +</div> +Linguists recognized long ago that the first rule of language is that ‘we talk like who we talk with’. And other behavioral scientists have realized that ‘we eat like who we eat with’, ‘we create like who we think with’, and ‘we think like who we think with’. Our earliest associations teach us not only how to think, create, talk, and eat, but to evaluate normal or correct thinking, talking, eating, and creating based on our narrow range of experiences. The crucial differences between others and our in-group are values, language, social roles, and knowledge structures<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../LIQUID/">L</a>. All else emerges from these, or so I have claimed in my own writings. [^1] Each builds on the others as we learn them in the context of familiarity, a society of intimates (i.e. our family or our village). This leads to a conceptualization of our own identity. +. For example, I know in some way that I am Dan. Yet no one, not even ourselves, fully understands what it means to be ourselves. The construction of our identity<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../HOPE/">H</a> through the familiar leads us to think of what is not us, not our family, not our norm. Inevitably, as our experience expands we meet others that do not fit neatly into our expectations. These are ‘the others.’ + +<p>In 1990, <input type="friend" class="friend"/style="background-color:black;color:white"> accompanied me to several <input type="people" class="people"/style="background-color:black;color:white"> villages in order to conduct a pilot study of language learning among <input type="study" class="study"/style="background-color:black;color:white">. We set up cameras on a hut, in full view, with the permission of its occupants, and started filming. We both were in the film, talking to the adults about their beliefs and children's behavior. After we were done filming, we noticed something that we had not seen before, because it was happening behind us. A toddler, perhaps a year and half old, was playing with a sharp kitchen knife with a 30cm blade. He was swinging it nonchalantly, almost stabbing himself in his face, legs, and midsection; occasionally swinging it close to his mother's face and back. We initially assumed that the mother didn't see her toddler's dangerous toy. But then, as she was talking to another woman, the camera recorded the baby dropping the knife and starting to cry. Barely glancing backwards at her child, the mother casually leaned over, picked the knife up off the ground and handed it back to the baby, who returned gleefully to his quasi-stabbing of himself. This was a confrontation of values<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../PRACTICAL_VISION/">P</a> for Peter and myself, underscoring the otherness divide between the <input type="people" class="people"/style="background-color:black;color:white"> and us. Wasn't the <input type="people" class="people"/style="background-color:black;color:white"> mother concerned about her child's welfare? She was indeed. But to the <input type="people" class="people"/style="background-color:black;color:white"> a cut or non-life-threatening injury is the price that occasionally must be paid in order to learn the skills necessary to survive in the jungle. Would a Dutch mother give her child a sharp knife as a toy, believing that any piercing of the child's flesh would be compensated for by its contribution to the child's development? Could she even respect this other (m)otherness - the otherness at the root of our lives?</p> +<img src="Imageresearch/piraha.annotations.png" alt="Daniel Everett's first annotations on Pirahãs spoken language, July 1995"> +<div class="dida"> +<section> + <details> + <summary> + Fig.4 + </summary> + <p> +Daniel Everett's first annotations on Pirahãs spoken language, July 1995 + </p> + </details> +</section> +</div> + +<p>When I first encountered the <input type="people" class="people"/style="background-color:black;color:white">, I learned the language by pointing and giving the name in English. I would pick up a stick and say, "stick." The <input type="people" class="people"/style="background-color:black;color:white">, most of them anyway, would give me the translation in their language<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../TENSE/">T</a>. Then I might let the stick drop to the ground and say, "the stick falls to the ground" or, "I throw the stick away" or, "two sticks drop to the ground," and so on. I would transcribe the responses and say them back at least three times to the speaker, making sure I had them right. I was able to follow their translations and also write down their comments. But the occasional speaker would ignore my request and instead say something that turned out to be even more interesting. Ɂaooí Ɂaohoaí sahaɁaí ɁapaitíisoɁabaɁáígio hiahoaáti, which means: "Do not talk with a crooked head. Talk with a straight head." The <input type="people" class="people"/style="background-color:black;color:white"> wanted me to talk like a person, not like a bizarre foreigner. Like an American tourist in France, the Pirahãs could not understand why I couldn't speak their language. Then one day a missionary plane had brought us some supplies in the jungle. Among those was lettuce. I was so excited to have greens. The <input type="people" class="people"/style="background-color:black;color:white"> eat no greens and think of them as worm food. I was cheerfully eating lettuce from a bowl when a <input type="people" class="people"/style="background-color:black;color:white"> friend walked up and said, "That's why you don't speak <input type="language" class="language"/style="background-color:black;color:white"> yet. We don't eat leaves."</p> + +<div class="dida"> +<section> + <details> + <summary> + Fun Fact + </summary> + <h1> +All Pirahã people know the name of every single species of flora and fauna in their environment. This is because these words are central to their way of life. Not having the ability to count money has no effect on their lives because they just have no need for it or the words used to describe it.<a href=""></a> + </h1> + </details> +</section> +</div> + +<p>In other words, the <input type="people" class="people"/style="background-color:black;color:white"> man believed that language emerges from culture as well as the entirety of our behavior as members of a society. This is a belief I have come to as well. They felt we could not learn their language at native level unless we became also part of their culture; and native level is what matters to them, there are no prizes for merely speaking their language intelligibly. This was against everything I had been taught about language in university courses, and it underscored the gap between them and me. Languages and cultures interact symbiotically<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../--/">M</a>, each affecting the other. Our sense of self and of society emerges from our enveloping culture and from the language and accents we hear most during our childhood development<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../LIQUID/">L</a>. The speed of our conversations and the structures of our interactions with others are formed in local communities of people like ourselves. The most comfortable conversations are with people who sound like you, put their phrases together as you do, and who reach similar conclusions.</p> + +<div class="dida"> +<img src="Imageresearch/goodnight.moon.png" alt=""> +<section> + <details> + <summary> + Fig.5 + </summary> + <p>The phrase “good night” is ingrained in our cultural lexicon. These two words start out playing an essential role in early childhood by way of soothing and rhythmic classics such as Goodnight Moon and Good Night, Gorilla. They are often the last words we hear our parents whisper to us before we fall asleep. Among adults, they’re taken for granted as a universal social signifier — a way to wish our friends and family a restful sleep, or a pleasantry upon our departure from a social evening out, no matter where in the world we are. For Pirahãs, there are no words for “good night.” This anomaly was first noted by linguistics professor Daniel Everett in his fascinating book, Don’t Sleep, There Are Snakes. In fact, the title itself echoes the words used by tribe members before they settle down for sleep. <br> +The Pirahãs say different things when they leave my hut at night on their way to bed. Sometimes they just say, “I’m going.” But frequently they use an expression… ”Don’t sleep, there are snakes.” The Pirahãs say this for two reasons. First they believe that by sleeping less they can “harden themselves,” a value they all share. Second, they know that danger is all around them in the jungle and that sleeping soundly can leave them defenseless. <br> +Indeed, their sleep pattern is unlike that in the modernized world. It’s common for tribe members to sleep for just an hour or two and then go about their activities, sleeping again when they get tired. +“During the night it is rare, though not unheard of, for the entire village to be silent,” Everett says. “Usually, there will be some sleeping and some playing, some talking, some laughing all night long. There simply are no culturally defined sleep periods among the Pirahã.” Which could explain why it wouldn’t make sense to wish someone a good night if he or she were only lying down for a brief rest. <a href="https://onlinelibrary.wiley.com/doil/10.1111/j.1551-6709.2011.01209.x/ful">Source</a> + </p> + </details> +</section> +</div> + +<p>There are many ways in which we confront otherness. Strangers are not always people. Nature is often a foreigner to most of us and we can learn by submitting ourselves to it. One reason that I annually read the American Henry David Thoreau's Walden, my favorite book in all of American literature, is that Thoreau was so articulately different from me. That is irrelevant to Thoreau's account of his year alone. His year was a brilliant experiment. Thoreau did not remain at Walden. He returned to take up a fairly boring life as a handyman in the adjacent city of Concord, Massachusetts. Yet, the book he wrote is full brilliant observations based on the concepts of American Transcendentalism: the idea that people and nature are inherently good and that they are best when left alone by society and its institutions. Transcendentalism implies that as we come to know ourselves and remove the otherness of nature by experiencing it with all our senses. That our sense of oneness<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../ATATA/">A</a> with others, as embodied in that very nature, grows. Thoreau's insights into his lessons from nature – as the stranger - teach us about what it means to live as a human, to be independent, and to occupy a part of the natural world. Through Thoreau we encounter the strangeness of a solitary life in nature. Oneness with ourselves and nature – and the others that are strange to us but are, like us, just part of nature – requires slow work of contemplation and experience that at once embraces the otherness of nature. It demands working towards removing this sense of otherness and embracing it as part of the oneness that we seek with the world<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../ECO-SWARAJ/">E</a> around us.</p> + +<div class="dida"> +<section> + <details> + <summary> + Summary + </summary> + <h1> +Otherness is related to anything considered as stranger, referring both living creatures and material things to. Embrace the otherness of nature makes our sense of oneness with others flourish. + </h1> + </details> +</section> +</div> + +<p>Otherness, as I see it, is the spark of original thought and greater appreciation of nature<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../LIQUID/">L</a>, while the sense of oneness is the paradoxical goal of encounters with otherness. We need a sense of oneness of ourselves with nature to clearly see otherness, and we need otherness to build a more encompassing and panoramic sense of self and oneness with the world. Thoreau ignored society to know himself. Most of us ignore ourselves to be part of society. Thoreau eloquently expressed the loss that, being carried away by the demands of others and society, brings us to our sense of self. We think of conformity rather than our own unique identity and so blur who we are as individuals. Thoreau captured this well when he exclaimed that, "the one is more important than the million." That is, it is only as we each individually appreciate our oneness with the world, nature, and the other as part of this oneness that we can achieve the best individual life, and thus society.<br> +</p> + +<div class="dida"> +<img src="Imageresearch/piraha.recordings.png" alt="Recording of a conversation between Pirahãs and Daniel Everett."> +<section> + <details> + <summary> + Fig.6 + </summary> + <h1> +The Pirahã people can communicate through humming, singing and whistling information to one another and their vocabulary covers everything in their own environment. + </h1> + </details> +</section> +</div> + +<p>Thoreau’s hut Walden stands still as light in the heart of the forest, a small cabin where one can sit and think and read and wonder about the reasons for living. Jungle nights were this light in my life, as I sat around campfires, talking in a language that was so hard for me to learn<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../PRACTICAL_VISION/">P</a>. Albert Camus said that the biggest mystery of philosophy is why not everyone commits suicide when honestly contemplating the futility of life. As a possible answer to his own question, Camus in his essay The Myth of Sisyphus, held up poor Sisyphus [^2] as an example of a good life. Sisyphus, after all, had an objective, one that entailed a measurable daily activity that always ended in the accomplishment of getting that rock up the hill. But Thoreau perspective rejects Camus's analysis. He saw no reason to count familiarity or predictability of social life, foods, or accomplishments as among the goals of life. They teach us little and change our behavior insignificantly. His example was that we learn most when we insert ourselves as aliens in new conceptual, cultural, and social environments (in his case, the absence of society). I am convinced that our lives become richer when they are less predictable. This is not to say that our lives are always predictable in the absence of the other. Otherness renders our expectations less fixed and requires more thinking, planning, and learning. </p> + +<p>The <input type="people" class="people"/style="background-color:black;color:white"> would disagree. They believe that it is homogeneity that gives us comfort and keeps us strong physically and psychologically. Otherness vs. predictability, which is more desirable? In essence, we need both even if we’d construct a greater sense of oneness that embraces the unexpected. The two greatest forces of preserving and constructing cultures are imitation and innovation<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../LIQUID/">L</a>. When our environments, culturally and physically, are constant, innovation is rarely useful. Like biological mutations, cognitive and cultural innovations are usually unsuccessful. The effort to invent will usually isolate us as strange and less successful than those who merely imitate. Failed innovation in a society that most values imitation emphasizes our own ‘otherness’ and provides us with little advantage. As environments change – such as the ecology of the Pleistocene that so shaped our Homo ancestors, climate change today, the shifting political boundaries, or the intrusion of others into our environment – innovation becomes a more important force, providing new solutions to new problems that imitation alone is unable to provide. The <input type="people" class="people"/style="background-color:black;color:white"> live in an environment that has changed little over the centuries. They value conformity and imitation over innovation. Consequently their language has changed little over time. Records of their culture and language from the 18th century show a people identical to the people we encounter<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../UNDECIDABILITY/">U</a> today, three centuries later. </p> + +<div class="dida"> +<img src="Imageresearch/piraha.result.png" alt="Pirahã Results"> +<section> + <details> + <summary> + Fig.7 + </summary> + <p1> +Results of numerical tasks with varying cognitive demands show that numerical cognition is clearly affected by the lack of a counting system in the language. Performance with quantities greater than three was remarkably poor, but showed a constant coefficient of variation, which is suggestive of an analog estimation process. <br> +Results of number tasks with Pirahã villagers (n 0 7). Rectangles indicate AA batteries (5.0 cm by 1.4 cm), and circles indicate ground nuts. Center line indicates a stick between the author's example array (below the line) and the participant's attempt to ''make it the same'' (above the line). Tasks A through D required the participant to match the lower array presented by the author using a line of batteries; task E was similar, but involved the unfamiliar task of copying lines drawn on paper; task F was a matching task where the participant saw the numerical display for only about 1 s before it was hidden behind a screen; task G involved putting nuts into a can and withdrawing them one by one; (participants responded after each withdrawal as to whether the can still contained nuts or was empty); task H involved placing candy inside a box with a number of fish drawn on the lid (this was then hidden and brought out again with another box with one more or one less fish on the lid, and participants had to choose which box contained the candy).</p1> <a href="https://www.researchgate.net/publication/41152486_Piraha_Exceptionality_A_Reassessment">Source</a> + </details> +</section> +</div> + +<p>In environments that, especially culturally, change at light speed we need to learn to think, speak, act differently, and innovate in multiple areas simultaneously as the changes we encounter transform our familiar environment into ‘an other’. Every day brings problems that we never faced before. Diversity of experiences and encounters with others inspire new ways of thinking and new forms of living. If we all look the same, talk the same, value the same things, paint the same pictures, dance the same dances, and hear the same music then we are simply imitators falling behind the challenges of our world. This applies to all of us whether we are hunter-gatherers in the Amazon or advertising agents in New York City. It blinds us to new forms of beauty. What we see around us, with the rise of anti-immigration political movements in Europe and the USA is, at least partially, a fear of otherness. Our preference is for conformity and imitation; our fear then itself arises from that preference in contrast to otherness and the greater steps towards an ever more encompassing oneness of the type that motivated Thoreau. However, the ultimate engine of innovation is otherness – of people, food, environments, art, and culture – it strengthens us and prospers us. </p> + +<p>Our languages and cognitive abilities expand as we learn new vocabularies and new values by talking to people and experiencing their relationships to nature<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../RESURGENCE/">R</a> that are unlike our own. Human language emerged within the Homo line because it was the only creature to embrace otherness as to actively explore for the sake of exploration; to seek encounters with otherness. As Homo erectus sailed to islands beyond the horizon it invented symbols and language to cope with the greater need for communal efforts to expand experiences. Language change is an indication of cultural change (and cultural change will change language). Together, they amplify our species ability to innovate and survive. All that we are is the result of our human embrace of the other, the love of alterity that makes us distinct from all other creatures. Alterity is one of our greatest fears. And yet it should be our greatest treasure.</p> + +<div class="bio"> +<img src="Imageresearch/bio.png" alt=" Daniel Everett at the University of Campinas"> + +Daniel L. Everett (USA) is a linguist and author best known for +his study of the Amazon Basin’s Pirahã people and their language. +His extensive writings about the experience of living among this +tribe and learning their culture and language – among which his +book Don’t Sleep, There Are Snakes: Life and Language in the +Amazonian Jungle, has been met with controversy among linguist, +biologists and other scientists worldwide. He has continued to +research language as a cultural tool and developed student guides +for linguistic fieldwork. Everett has taught at several universities +and since 2010 has been the dean of Arts and Sciences at Bentley +University. In 2016, the University of Chicago press published +Everett’s book Dark Matter of the Mind: the Culturally Articulated +Unconscious. His latest book How Language Began is an attempt to +trace back and tell the history of the origin and nature of language +(coming Fall 2017). +</div> + +[^1]: For Everett’s writings see among other titles: *Everett, Daniel. Don’t sleep, there are snakes: life and language in the Amazonian jungle* (2008). Pantheon Books, New York. + +[^2]: The doomed soul in Greek mythology who had the repetitive job of daily pushing a huge stone up a hill only to see it roll down at the end of his efforts and leave him with the same task to perform the next day. diff --git a/OTHERNESS/index-forprint.md b/OTHERNESS/index-forprint.md new file mode 100644 index 0000000..baafa21 --- /dev/null +++ b/OTHERNESS/index-forprint.md @@ -0,0 +1,160 @@ +<span class="bottom">Otherness - <a style="color:blue;" href = "../">Wor(l)ds</a> +</span><span class="bottom"> For The Future.<br>See</span> <a href="indexOG.html">the original Text</a> or go to <a href="index_nouns.html">Text as a Map</a></span> +<span class="intro"> +<h1>Please, notice: <br>Some of the original references to the people and places along the story have been erased to make space for your individual perspective. </h1> +<div class="dida"><section> + <details> + <summary> + Fig.1 (Background) + </summary> +Location of Pirahã's Sites on Maici River, Brazil. Extract from Daniel Everett's documentation. + </div> + </details> +Otherness by <input type="yourname" class="yourname"/ style="background-color:black;color:white"> + +<img src="Imageresearch/piraha.brasil.png" alt="Acampamento Pirahã, próximo a Transamazônica. Rio Maici. Picture: Ezequias Hering, 1981"> +<div class="dida"> +<section> + <details> + <summary> + Fig.2 + </summary> + Acampamento Pirahã, próximo a Transamazônica. Rio Maici. Foto: Ezequias Hering, 1981 + </details> +</section> +</div> +When I was 26, I moved to the <input type="place" class="place"/ style="background-color:black;color:white">, from <input type="place" class="place"/ style="background-color:black;color:white">, in order to study the language and culture of a people that were believed to be unrelated to any other people. I flew in a small missionary plane, a bumpy nausea-inducing ride, to meet <input type="people" class="people"/ style="background-color:black;color:white"> people for the first time. My body was weak; my brain was taut with anxiety and anticipation. The <input type="people" class="people"/ style="background-color:black;color:white"> are unrelated to any other. They speak a language that many linguists had unsuccessfully attempted to understand. My task would be to understand where little understanding currently existed. This encounter with these ‘others’ so unlike myself, was to be the defining experience for the rest of my life. + +One of the greatest challenges of our species is alterity, ‘otherness.’ All cultures for reasons easy enough to understand fear other cultures<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../RESURGENCE/">R</a>. War and conflict have defined humans for nearly two million years. When we encounter others unlike ourselves, we frequently become uncomfortable, suspicious. A new neighbor from another country. A friend of our child who has a different color. Someone whose gender is not a simple binary classification. This is an old problem. Jesus himself fell under suspicion for befriending a woman thought to be a prostitute, Mary Magdalene. She was unlike the religious people of Jesus's day. An ‘other.’ + +<div class="dida"> +<section> + <details> + <summary> + Otherness = Alterity + </summary> +The "other of two". It is also increasingly being used in media to express something other than "sameness", or something outside of tradition or convention. + </details> +</section> +</div> +Those unlike ourselves may eat different food, be unintelligible to us when speaking to those more like themselves, build different-looking homes, or, in the view of some who most fears otherness, simply live ‘wrongly.’ To some, others are not only suspect, but their differences are morally unacceptable. When I first entered the <input type="place" class="place"/ style="background-color:black;color:white"> as a <input type="mission" class="mission"/ style="background-color:black;color:white">, this was my belief. Everyone needed <input type="what" class="what"/ style="background-color:black;color:white"> and if they didn't believe in him, they were deservedly going to eternal torment. In my encounter with the <input type="people" class="people"/ style="background-color:black;color:white">, though I was uneasy, I realize now, ironically, that I was actually the dangerous one, the one who came with insufficient respect, with an ego-centric and ethno-centric view of my own ‘rightness.’ How fortunate for me that this gentle people disabused me of so many of my silly beliefs. Though this years-long encounter with the Pirahãs was to improve my life globally, it certainly didn't seem that way at first. + +During my first day among the <input type="people" class="people"/ style="background-color:black;color:white"> I was taken by a young man to a fire by his hut. He pointed at a large rodent on the fire with its tongue still hanging out and a small pool of blood at the edge of the fire. The hair was burning off of the fresh kill. The young man uttered a then-unintelligible phrase: Gí obáaʔáí kohoáipi gíisai? Later I learned that this meant, "Do you know how to eat this?" And I also learned that if you don't want any offered food, you can simply say, "No, I don't know how to eat it." No one loses face. It is an easy, polite structure that allows you to avoid foods you don't want<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../ATATA/">A</a>. Many other cultures, Western cultures for example, don't tend to be this polite. We often simply offer people things to eat and get offended if they refuse. Unlike among the <input type="people" class="people"/ style="background-color:black;color:white">, there is a more portent pressure in some Western cultures for a guest to eat whatever the host offers. + +<p>For almost all of us, we experience the world first through our mother. All that we touch, taste, hear, smell, see, and eventually come to know and understand begins with her and is mediated by her. As we develop of course we notice others close to our mother - our father, siblings, and others. But until our first experiences as individuals begin outside the home, our values, language<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../--/">M</a>, and ways of thinking all result from interactions with our mother and the select small group she is part of. These early apperceptions shape our subsequent lives. They lead not only to an individual sense of identity but also to a conception of what a ‘normal identity’ is. This is all very comfortable. We learn early on that new behavior and new information entail effort. Why listen to dissonant jazz when the steady 4/4 beat of country or rock is familiar? Why eat haggis instead of pot roast? Comfort food is just food that requires no gaining of acquired tastes. Why learn another language? Why make friends of a different color, a different sexual orientation, or a different nationality? Why should a professor make friends with a cowboy? These efforts go against the biological preference for expending as little energy as possible and maintenance of the status quo. The work of learning about otherness is worthwhile, but this is not always obvious initially. + +<img src="Imageresearch/everett.cat.png" alt="Adult Pirahãs drawing of a cat."> +<div class="dida"> +<section> + <details> + <summary> + Fig.3 + </summary> + Drawing of a cat made by a Pirahã woman. + </details> +</section> +</div> +Linguists recognized long ago that the first rule of language is that ‘we talk like who we talk with’. And other behavioral scientists have realized that ‘we eat like who we eat with’, ‘we create like who we think with’, and ‘we think like who we think with’. Our earliest associations teach us not only how to think, create, talk, and eat, but to evaluate normal or correct thinking, talking, eating, and creating based on our narrow range of experiences. The crucial differences between others and our in-group are values, language, social roles, and knowledge structures<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../LIQUID/">L</a>. All else emerges from these, or so I have claimed in my own writings. [^1] Each builds on the others as we learn them in the context of familiarity, a society of intimates (i.e. our family or our village). This leads to a conceptualization of our own identity. For example, I know in some way that I am Dan. Yet no one, not even ourselves, fully understands what it means to be ourselves. The construction of our identity<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../HOPE/">H</a> through the familiar leads us to think of what is not us, not our family, not our norm. Inevitably, as our experience expands we meet others that do not fit neatly into our expectations. These are ‘the others.’ + +<p>In 1990, <input type="friend" class="friend"/style="background-color:black;color:white"> accompanied me to several <input type="people" class="people"/style="background-color:black;color:white"> villages in order to conduct a pilot study of language learning among <input type="study" class="study"/style="background-color:black;color:white">. We set up cameras on a hut, in full view, with the permission of its occupants, and started filming. We both were in the film, talking to the adults about their beliefs and children's behavior. After we were done filming, we noticed something that we had not seen before, because it was happening behind us. A toddler, perhaps a year and half old, was playing with a sharp kitchen knife with a 30cm blade. He was swinging it nonchalantly, almost stabbing himself in his face, legs, and midsection; occasionally swinging it close to his mother's face and back. We initially assumed that the mother didn't see her toddler's dangerous toy. But then, as she was talking to another woman, the camera recorded the baby dropping the knife and starting to cry. Barely glancing backwards at her child, the mother casually leaned over, picked the knife up off the ground and handed it back to the baby, who returned gleefully to his quasi-stabbing of himself. This was a confrontation of values<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../PRACTICAL_VISION/">P</a> for Peter and myself, underscoring the otherness divide between the <input type="people" class="people"/style="background-color:black;color:white"> and us. Wasn't the <input type="people" class="people"/style="background-color:black;color:white"> mother concerned about her child's welfare? She was indeed. But to the <input type="people" class="people"/style="background-color:black;color:white"> a cut or non-life-threatening injury is the price that occasionally must be paid in order to learn the skills necessary to survive in the jungle. Would a Dutch mother give her child a sharp knife as a toy, believing that any piercing of the child's flesh would be compensated for by its contribution to the child's development? Could she even respect this other (m)otherness - the otherness at the root of our lives?</p> +<img src="Imageresearch/piraha.annotations.png" alt="Daniel Everett's first annotations on Pirahãs spoken language, July 1995"> +<div class="dida"> +<section> + <details> + <summary> + Fig.4 + </summary> + Daniel Everett's first annotations on Pirahãs' spoken language, July 1995 + </details> +</section> +</div> + +<p>When I first encountered the <input type="people" class="people"/style="background-color:black;color:white">, I learned the language by pointing and giving the name in English. I would pick up a stick and say, "stick." The <input type="people" class="people"/style="background-color:black;color:white">, most of them anyway, would give me the translation in their language<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../TENSE/">T</a>. Then I might let the stick drop to the ground and say, "the stick falls to the ground" or, "I throw the stick away" or, "two sticks drop to the ground," and so on. I would transcribe the responses and say them back at least three times to the speaker, making sure I had them right. I was able to follow their translations and also write down their comments. But the occasional speaker would ignore my request and instead say something that turned out to be even more interesting. Ɂaooí Ɂaohoaí sahaɁaí ɁapaitíisoɁabaɁáígio hiahoaáti, which means: "Do not talk with a crooked head. Talk with a straight head." The <input type="people" class="people"/style="background-color:black;color:white"> wanted me to talk like a person, not like a bizarre foreigner. Like an American tourist in France, the Pirahãs could not understand why I couldn't speak their language. Then one day a missionary plane had brought us some supplies in the jungle. Among those was lettuce. I was so excited to have greens. The <input type="people" class="people"/style="background-color:black;color:white"> eat no greens and think of them as worm food. I was cheerfully eating lettuce from a bowl when a <input type="people" class="people"/style="background-color:black;color:white"> friend walked up and said, "That's why you don't speak <input type="language" class="language"/style="background-color:black;color:white"> yet. We don't eat leaves."</p> + +<div class="dida"> +<section> + <details> + <summary> + Fun Fact + </summary> +All Pirahã people know the name of every single species of flora and fauna in their environment.<a href=""></a> + </details> +</section> +</div> + +<p>In other words, the <input type="people" class="people"/style="background-color:black;color:white"> man believed that language emerges from culture as well as the entirety of our behavior as members of a society. This is a belief I have come to as well. They felt we could not learn their language at native level unless we became also part of their culture; and native level is what matters to them, there are no prizes for merely speaking their language intelligibly. This was against everything I had been taught about language in university courses, and it underscored the gap between them and me. Languages and cultures interact symbiotically<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../--/">M</a>, each affecting the other. Our sense of self and of society emerges from our enveloping culture and from the language and accents we hear most during our childhood development<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../LIQUID/">L</a>. The speed of our conversations and the structures of our interactions with others are formed in local communities of people like ourselves. The most comfortable conversations are with people who sound like you, put their phrases together as you do, and who reach similar conclusions.</p> + +<div class="dida"> +<img src="Imageresearch/goodnight.moon.png" alt=""> +<section> + <details> + <summary> + Fig.5 + </summary> +For Pirahãs, there are no words for “good night". They would say: "Don’t Sleep, There Are Snakes". + </details> +</section> +</div> + +<p>There are many ways in which we confront otherness. Strangers are not always people. Nature is often a foreigner to most of us and we can learn by submitting ourselves to it. One reason that I annually read the American Henry David Thoreau's Walden, my favorite book in all of American literature, is that Thoreau was so articulately different from me. That is irrelevant to Thoreau's account of his year alone. His year was a brilliant experiment. Thoreau did not remain at Walden. He returned to take up a fairly boring life as a handyman in the adjacent city of Concord, Massachusetts. Yet, the book he wrote is full brilliant observations based on the concepts of American Transcendentalism: the idea that people and nature are inherently good and that they are best when left alone by society and its institutions. Transcendentalism implies that as we come to know ourselves and remove the otherness of nature by experiencing it with all our senses. That our sense of oneness<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../ATATA/">A</a> with others, as embodied in that very nature, grows. Thoreau's insights into his lessons from nature – as the stranger - teach us about what it means to live as a human, to be independent, and to occupy a part of the natural world. Through Thoreau we encounter the strangeness of a solitary life in nature. Oneness with ourselves and nature – and the others that are strange to us but are, like us, just part of nature – requires slow work of contemplation and experience that at once embraces the otherness of nature. It demands working towards removing this sense of otherness and embracing it as part of the oneness that we seek with the world<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../ECO-SWARAJ/">E</a> around us.</p> + +<div class="dida"> +<section> + <details> + <summary> + Summary + </summary> +Otherness is related to anything considered as stranger, referring both living creatures and material things to. Embrace the otherness of nature makes our sense of oneness with others flourish. + </details> +</section> +</div> + +<p>Otherness, as I see it, is the spark of original thought and greater appreciation of nature<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../LIQUID/">L</a>, while the sense of oneness is the paradoxical goal of encounters with otherness. We need a sense of oneness of ourselves with nature to clearly see otherness, and we need otherness to build a more encompassing and panoramic sense of self and oneness with the world. Thoreau ignored society to know himself. Most of us ignore ourselves to be part of society. Thoreau eloquently expressed the loss that, being carried away by the demands of others and society, brings us to our sense of self. We think of conformity rather than our own unique identity and so blur who we are as individuals. Thoreau captured this well when he exclaimed that, "the one is more important than the million." That is, it is only as we each individually appreciate our oneness with the world, nature, and the other as part of this oneness that we can achieve the best individual life, and thus society.<br> +</p> +<p>Thoreau’s hut Walden stands still as light in the heart of the forest, a small cabin where one can sit and think and read and wonder about the reasons for living. Jungle nights were this light in my life, as I sat around campfires, talking in a language that was so hard for me to learn<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../PRACTICAL_VISION/">P</a>. Albert Camus said that the biggest mystery of philosophy is why not everyone commits suicide when honestly contemplating the futility of life. As a possible answer to his own question, Camus in his essay The Myth of Sisyphus, held up poor Sisyphus [^2] as an example of a good life. Sisyphus, after all, had an objective, one that entailed a measurable daily activity that always ended in the accomplishment of getting that rock up the hill. But Thoreau perspective rejects Camus's analysis. He saw no reason to count familiarity or predictability of social life, foods, or accomplishments as among the goals of life. They teach us little and change our behavior insignificantly. His example was that we learn most when we insert ourselves as aliens in new conceptual, cultural, and social environments (in his case, the absence of society). I am convinced that our lives become richer when they are less predictable. This is not to say that our lives are always predictable in the absence of the other. Otherness renders our expectations less fixed and requires more thinking, planning, and learning. </p> + +<div class="dida"> +<img src="Imageresearch/piraha.recordings.png" alt="Recording of a conversation between Pirahãs. The Pirahã people can communicate through humming, singing and whistling information."> +<section> + <details> + <summary> + Fig.6 + </summary> +Recording of a conversation between Pirahãs. The Pirahã can communicate through humming, singing and whistling information. + </details> +</section> +</div> + +<p>The <input type="people" class="people"/style="background-color:black;color:white"> would disagree. They believe that it is homogeneity that gives us comfort and keeps us strong physically and psychologically. Otherness vs. predictability, which is more desirable? In essence, we need both even if we’d construct a greater sense of oneness that embraces the unexpected. The two greatest forces of preserving and constructing cultures are imitation and innovation<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../LIQUID/">L</a>. When our environments, culturally and physically, are constant, innovation is rarely useful. Like biological mutations, cognitive and cultural innovations are usually unsuccessful. The effort to invent will usually isolate us as strange and less successful than those who merely imitate. Failed innovation in a society that most values imitation emphasizes our own ‘otherness’ and provides us with little advantage. As environments change – such as the ecology of the Pleistocene that so shaped our Homo ancestors, climate change today, the shifting political boundaries, or the intrusion of others into our environment – innovation becomes a more important force, providing new solutions to new problems that imitation alone is unable to provide. The <input type="people" class="people"/style="background-color:black;color:white"> live in an environment that has changed little over the centuries. They value conformity and imitation over innovation. Consequently their language has changed little over time. Records of their culture and language from the 18th century show a people identical to the people we encounter<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../UNDECIDABILITY/">U</a> today, three centuries later. </p> + +<div class="dida"> +<img src="Imageresearch/piraha.result.png" alt="Pirahã Results"> +<section> + <details> + <summary> + Fig.7 + </summary> +Results of numerical tasks with varying cognitive demands on Pirahã. + </details> +</section> +</div> + +<p>In environments that, especially culturally, change at light speed we need to learn to think, speak, act differently, and innovate in multiple areas simultaneously as the changes we encounter transform our familiar environment into ‘an other’. Every day brings problems that we never faced before. Diversity of experiences and encounters with others inspire new ways of thinking and new forms of living. If we all look the same, talk the same, value the same things, paint the same pictures, dance the same dances, and hear the same music then we are simply imitators falling behind the challenges of our world. This applies to all of us whether we are hunter-gatherers in the Amazon or advertising agents in New York City. It blinds us to new forms of beauty. What we see around us, with the rise of anti-immigration political movements in Europe and the USA is, at least partially, a fear of otherness. Our preference is for conformity and imitation; our fear then itself arises from that preference in contrast to otherness and the greater steps towards an ever more encompassing oneness of the type that motivated Thoreau. However, the ultimate engine of innovation is otherness – of people, food, environments, art, and culture – it strengthens us and prospers us. </p> + +<p>Our languages and cognitive abilities expand as we learn new vocabularies and new values by talking to people and experiencing their relationships to nature<a class="link" style="font-size: 11pt; color: blue; font-family: 'wfdtf';" href = "../RESURGENCE/">R</a> that are unlike our own. Human language emerged within the Homo line because it was the only creature to embrace otherness as to actively explore for the sake of exploration; to seek encounters with otherness. As Homo erectus sailed to islands beyond the horizon it invented symbols and language to cope with the greater need for communal efforts to expand experiences. Language change is an indication of cultural change (and cultural change will change language). Together, they amplify our species ability to innovate and survive. All that we are is the result of our human embrace of the other, the love of alterity that makes us distinct from all other creatures. Alterity is one of our greatest fears. And yet it should be our greatest treasure.</p> + +<div class="bio"> +<img src="Imageresearch/bio.png" alt=" Daniel Everett at the University of Campinas"> + +Daniel L. Everett (USA) is a linguist and author best known for +his study of the Amazon Basin’s Pirahã people and their language. +His extensive writings about the experience of living among this +tribe and learning their culture and language – among which his +book Don’t Sleep, There Are Snakes: Life and Language in the +Amazonian Jungle, has been met with controversy among linguist, +biologists and other scientists worldwide. +</div> + +[^1]: For Everett’s writings see among other titles: *Everett, Daniel. Don’t sleep, there are snakes: life and language in the Amazonian jungle* (2008). Pantheon Books, New York. + +[^2]: The doomed soul in Greek mythology who had the repetitive job of daily pushing a huge stone up a hill only to see it roll down at the end of his efforts and leave him with the same task to perform the next day. diff --git a/OTHERNESS/index.html b/OTHERNESS/index.html new file mode 100644 index 0000000..e96f545 --- /dev/null +++ b/OTHERNESS/index.html @@ -0,0 +1,151 @@ +<!DOCTYPE html> +<html xmlns="http://www.w3.org/1999/xhtml" lang="" xml:lang=""> +<head> + <meta charset="utf-8" /> + <meta name="generator" content="pandoc" /> + <meta name="viewport" content="width=device-width, initial-scale=1.0, user-scalable=yes" /> + <title>index + + + + +Otherness - Wor(l)ds          For The Future.
See
the original Contribution or go to Text as a Map +

+Please, notice:
Some of the original references to the people and places along the story have been erased to make space for your individual perspective. +

+
+
+
+ Fig.1 (Background) Location of Pirahã’s Sites on Maici River, Brazil. Extract from Daniel Everett’s documentation. +
+ +

Otherness by

+Acampamento Pirahã, próximo a Transamazônica. Rio Maici. Picture: Ezequias Hering, 1981 +
+
+
+ Fig.2 Acampamento Pirahã, próximo a Transamazônica. Rio Maici. Foto: Ezequias Hering, 1981 +
+
+
+

When I was 26, I moved to the , from , in order to study the language and culture of a people that were believed to be unrelated to any other people. I flew in a small missionary plane, a bumpy nausea-inducing ride, to meet people for the first time. My body was weak; my brain was taut with anxiety and anticipation. The are unrelated to any other. They speak a language that many linguists had unsuccessfully attempted to understand. My task would be to understand where little understanding currently existed. This encounter with these ‘others’ so unlike myself, was to be the defining experience for the rest of my life.

+

One of the greatest challenges of our species is alterity, ‘otherness.’ All cultures for reasons easy enough to understand fear other culturesR. War and conflict have defined humans for nearly two million years. When we encounter others unlike ourselves, we frequently become uncomfortable, suspicious. A new neighbor from another country. A friend of our child who has a different color. Someone whose gender is not a simple binary classification. This is an old problem. Jesus himself fell under suspicion for befriending a woman thought to be a prostitute, Mary Magdalene. She was unlike the religious people of Jesus’s day. An ‘other.’

+
+
+
+ Otherness = Alterity The “other of two”. It is also increasingly being used in media to express something other than “sameness”, or something outside of tradition or convention. +
+
+
+

Those unlike ourselves may eat different food, be unintelligible to us when speaking to those more like themselves, build different-looking homes, or, in the view of some who most fears otherness, simply live ‘wrongly.’ To some, others are not only suspect, but their differences are morally unacceptable. When I first entered the as a , this was my belief. Everyone needed and if they didn’t believe in him, they were deservedly going to eternal torment. In my encounter with the , though I was uneasy, I realize now, ironically, that I was actually the dangerous one, the one who came with insufficient respect, with an ego-centric and ethno-centric view of my own ‘rightness.’ How fortunate for me that this gentle people disabused me of so many of my silly beliefs. Though this years-long encounter with the Pirahãs was to improve my life globally, it certainly didn’t seem that way at first.

+

During my first day among the I was taken by a young man to a fire by his hut. He pointed at a large rodent on the fire with its tongue still hanging out and a small pool of blood at the edge of the fire. The hair was burning off of the fresh kill. The young man uttered a then-unintelligible phrase: Gí obáaʔáí kohoáipi gíisai? Later I learned that this meant, “Do you know how to eat this?” And I also learned that if you don’t want any offered food, you can simply say, “No, I don’t know how to eat it.” No one loses face. It is an easy, polite structure that allows you to avoid foods you don’t wantA. Many other cultures, Western cultures for example, don’t tend to be this polite. We often simply offer people things to eat and get offended if they refuse. Unlike among the , there is a more portent pressure in some Western cultures for a guest to eat whatever the host offers.

+

+

For almost all of us, we experience the world first through our mother. All that we touch, taste, hear, smell, see, and eventually come to know and understand begins with her and is mediated by her. As we develop of course we notice others close to our mother - our father, siblings, and others. But until our first experiences as individuals begin outside the home, our values, languageM, and ways of thinking all result from interactions with our mother and the select small group she is part of. These early apperceptions shape our subsequent lives. They lead not only to an individual sense of identity but also to a conception of what a ‘normal identity’ is. This is all very comfortable. We learn early on that new behavior and new information entail effort. Why listen to dissonant jazz when the steady 4/4 beat of country or rock is familiar? Why eat haggis instead of pot roast? Comfort food is just food that requires no gaining of acquired tastes. Why learn another language? Why make friends of a different color, a different sexual orientation, or a different nationality? Why should a professor make friends with a cowboy? These efforts go against the biological preference for expending as little energy as possible and maintenance of the status quo. The work of learning about otherness is worthwhile, but this is not always obvious initially.

+Adult Pirahãs drawing of a cat. +
+
+
+ Fig.3 Drawing of a cat made by a Pirahã woman. +
+
+
+

+Linguists recognized long ago that the first rule of language is that ‘we talk like who we talk with’. And other behavioral scientists have realized that ‘we eat like who we eat with’, ‘we create like who we think with’, and ‘we think like who we think with’. Our earliest associations teach us not only how to think, create, talk, and eat, but to evaluate normal or correct thinking, talking, eating, and creating based on our narrow range of experiences. The crucial differences between others and our in-group are values, language, social roles, and knowledge structuresL. All else emerges from these, or so I have claimed in my own writings. 1 Each builds on the others as we learn them in the context of familiarity, a society of intimates (i.e. our family or our village). This leads to a conceptualization of our own identity. For example, I know in some way that I am Dan. Yet no one, not even ourselves, fully understands what it means to be ourselves. The construction of our identityH through the familiar leads us to think of what is not us, not our family, not our norm. Inevitably, as our experience expands we meet others that do not fit neatly into our expectations. These are ‘the others.’ +

+

+In 1990, accompanied me to several villages in order to conduct a pilot study of language learning among . We set up cameras on a hut, in full view, with the permission of its occupants, and started filming. We both were in the film, talking to the adults about their beliefs and children’s behavior. After we were done filming, we noticed something that we had not seen before, because it was happening behind us. A toddler, perhaps a year and half old, was playing with a sharp kitchen knife with a 30cm blade. He was swinging it nonchalantly, almost stabbing himself in his face, legs, and midsection; occasionally swinging it close to his mother’s face and back. We initially assumed that the mother didn’t see her toddler’s dangerous toy. But then, as she was talking to another woman, the camera recorded the baby dropping the knife and starting to cry. Barely glancing backwards at her child, the mother casually leaned over, picked the knife up off the ground and handed it back to the baby, who returned gleefully to his quasi-stabbing of himself. This was a confrontation of valuesP for Peter and myself, underscoring the otherness divide between the and us. Wasn’t the mother concerned about her child’s welfare? She was indeed. But to the a cut or non-life-threatening injury is the price that occasionally must be paid in order to learn the skills necessary to survive in the jungle. Would a Dutch mother give her child a sharp knife as a toy, believing that any piercing of the child’s flesh would be compensated for by its contribution to the child’s development? Could she even respect this other (m)otherness - the otherness at the root of our lives? +

+Daniel Everett's first annotations on Pirahãs spoken language, July 1995 +
+
+
+ Fig.4 Daniel Everett’s first annotations on Pirahãs’ spoken language, July 1995 +
+
+
+

+When I first encountered the , I learned the language by pointing and giving the name in English. I would pick up a stick and say, “stick.” The , most of them anyway, would give me the translation in their languageT. Then I might let the stick drop to the ground and say, “the stick falls to the ground” or, “I throw the stick away” or, “two sticks drop to the ground,” and so on. I would transcribe the responses and say them back at least three times to the speaker, making sure I had them right. I was able to follow their translations and also write down their comments. But the occasional speaker would ignore my request and instead say something that turned out to be even more interesting. Ɂaooí Ɂaohoaí sahaɁaí ɁapaitíisoɁabaɁáígio hiahoaáti, which means: “Do not talk with a crooked head. Talk with a straight head.” The wanted me to talk like a person, not like a bizarre foreigner. Like an American tourist in France, the Pirahãs could not understand why I couldn’t speak their language. Then one day a missionary plane had brought us some supplies in the jungle. Among those was lettuce. I was so excited to have greens. The eat no greens and think of them as worm food. I was cheerfully eating lettuce from a bowl when a friend walked up and said, “That’s why you don’t speak yet. We don’t eat leaves.” +

+
+
+
+ Fun Fact All Pirahã people know the name of every single species of flora and fauna in their environment. +
+
+
+

+In other words, the man believed that language emerges from culture as well as the entirety of our behavior as members of a society. This is a belief I have come to as well. They felt we could not learn their language at native level unless we became also part of their culture; and native level is what matters to them, there are no prizes for merely speaking their language intelligibly. This was against everything I had been taught about language in university courses, and it underscored the gap between them and me. Languages and cultures interact symbioticallyM, each affecting the other. Our sense of self and of society emerges from our enveloping culture and from the language and accents we hear most during our childhood developmentL. The speed of our conversations and the structures of our interactions with others are formed in local communities of people like ourselves. The most comfortable conversations are with people who sound like you, put their phrases together as you do, and who reach similar conclusions. +

+
+ +
+
+ Fig.5 For Pirahãs, there are no words for “good night”. They would say: “Don’t Sleep, There Are Snakes”. +
+
+
+

+There are many ways in which we confront otherness. Strangers are not always people. Nature is often a foreigner to most of us and we can learn by submitting ourselves to it. One reason that I annually read the American Henry David Thoreau’s Walden, my favorite book in all of American literature, is that Thoreau was so articulately different from me. That is irrelevant to Thoreau’s account of his year alone. His year was a brilliant experiment. Thoreau did not remain at Walden. He returned to take up a fairly boring life as a handyman in the adjacent city of Concord, Massachusetts. Yet, the book he wrote is full brilliant observations based on the concepts of American Transcendentalism: the idea that people and nature are inherently good and that they are best when left alone by society and its institutions. Transcendentalism implies that as we come to know ourselves and remove the otherness of nature by experiencing it with all our senses. +

+

+That our sense of onenessA with others, as embodied in that very nature, grows. Thoreau’s insights into his lessons from nature – as the stranger - teach us about what it means to live as a human, to be independent, and to occupy a part of the natural world. Through Thoreau we encounter the strangeness of a solitary life in nature. Oneness with ourselves and nature – and the others that are strange to us but are, like us, just part of nature – requires slow work of contemplation and experience that at once embraces the otherness of nature. It demands working towards removing this sense of otherness and embracing it as part of the oneness that we seek with the worldE around us. +

+
+
+
+ Summary Otherness is related to anything considered as stranger, referring both living creatures and material things to. Embrace the otherness of nature makes our sense of oneness with others flourish. +
+
+
+

+Otherness, as I see it, is the spark of original thought and greater appreciation of natureL, while the sense of oneness is the paradoxical goal of encounters with otherness. We need a sense of oneness of ourselves with nature to clearly see otherness, and we need otherness to build a more encompassing and panoramic sense of self and oneness with the world. Thoreau ignored society to know himself. Most of us ignore ourselves to be part of society. Thoreau eloquently expressed the loss that, being carried away by the demands of others and society, brings us to our sense of self. We think of conformity rather than our own unique identity and so blur who we are as individuals. Thoreau captured this well when he exclaimed that, “the one is more important than the million.” That is, it is only as we each individually appreciate our oneness with the world, nature, and the other as part of this oneness that we can achieve the best individual life, and thus society.
+

+

+Thoreau’s hut Walden stands still as light in the heart of the forest, a small cabin where one can sit and think and read and wonder about the reasons for living. Jungle nights were this light in my life, as I sat around campfires, talking in a language that was so hard for me to learnP. Albert Camus said that the biggest mystery of philosophy is why not everyone commits suicide when honestly contemplating the futility of life. As a possible answer to his own question, Camus in his essay The Myth of Sisyphus, held up poor Sisyphus 2 as an example of a good life. Sisyphus, after all, had an objective, one that entailed a measurable daily activity that always ended in the accomplishment of getting that rock up the hill. But Thoreau perspective rejects Camus’s analysis. He saw no reason to count familiarity or predictability of social life, foods, or accomplishments as among the goals of life. They teach us little and change our behavior insignificantly. His example was that we learn most when we insert ourselves as aliens in new conceptual, cultural, and social environments (in his case, the absence of society). I am convinced that our lives become richer when they are less predictable. This is not to say that our lives are always predictable in the absence of the other. Otherness renders our expectations less fixed and requires more thinking, planning, and learning. +

+
+Recording of a conversation between Pirahãs. The Pirahã people can communicate through humming, singing and whistling information. +
+
+ Fig.6 Recording of a conversation between Pirahãs. The Pirahã can communicate through humming, singing and whistling information. +
+
+
+

+The would disagree. They believe that it is homogeneity that gives us comfort and keeps us strong physically and psychologically. Otherness vs. predictability, which is more desirable? In essence, we need both even if we’d construct a greater sense of oneness that embraces the unexpected. The two greatest forces of preserving and constructing cultures are imitation and innovationL. +

+

+When our environments, culturally and physically, are constant, innovation is rarely useful. Like biological mutations, cognitive and cultural innovations are usually unsuccessful. The effort to invent will usually isolate us as strange and less successful than those who merely imitate. Failed innovation in a society that most values imitation emphasizes our own ‘otherness’ and provides us with little advantage. As environments change – such as the ecology of the Pleistocene that so shaped our Homo ancestors, climate change today, the shifting political boundaries, or the intrusion of others into our environment – innovation becomes a more important force, providing new solutions to new problems that imitation alone is unable to provide. The live in an environment that has changed little over the centuries. They value conformity and imitation over innovation. Consequently their language has changed little over time. Records of their culture and language from the 18th century show a people identical to the people we encounterU today, three centuries later. +

+
+Pirahã Results +
+
+ Fig.7 Results of numerical tasks with varying cognitive demands on Pirahã. +
+
+
+

+In environments that, especially culturally, change at light speed we need to learn to think, speak, act differently, and innovate in multiple areas simultaneously as the changes we encounter transform our familiar environment into ‘an other’. Every day brings problems that we never faced before. Diversity of experiences and encounters with others inspire new ways of thinking and new forms of living. If we all look the same, talk the same, value the same things, paint the same pictures, dance the same dances, and hear the same music then we are simply imitators falling behind the challenges of our world. This applies to all of us whether we are hunter-gatherers in the Amazon or advertising agents in New York City. It blinds us to new forms of beauty. What we see around us, with the rise of anti-immigration political movements in Europe and the USA is, at least partially, a fear of otherness. Our preference is for conformity and imitation; our fear then itself arises from that preference in contrast to otherness and the greater steps towards an ever more encompassing oneness of the type that motivated Thoreau. However, the ultimate engine of innovation is otherness – of people, food, environments, art, and culture – it strengthens us and prospers us. +

+

+Our languages and cognitive abilities expand as we learn new vocabularies and new values by talking to people and experiencing their relationships to natureR that are unlike our own. Human language emerged within the Homo line because it was the only creature to embrace otherness as to actively explore for the sake of exploration; to seek encounters with otherness. As Homo erectus sailed to islands beyond the horizon it invented symbols and language to cope with the greater need for communal efforts to expand experiences. Language change is an indication of cultural change (and cultural change will change language). Together, they amplify our species ability to innovate and survive. All that we are is the result of our human embrace of the other, the love of alterity that makes us distinct from all other creatures. Alterity is one of our greatest fears. And yet it should be our greatest treasure. +

+
+

 Daniel Everett at the University of Campinas

+

Daniel L. Everett (USA) is a linguist and author best known for his study of the Amazon Basin’s Pirahã people and their language. His extensive writings about the experience of living among this tribe and learning their culture and language – among which his book Don’t Sleep, There Are Snakes: Life and Language in the Amazonian Jungle, has been met with controversy among linguist, biologists and other scientists worldwide.

+
+
+
+
    +
  1. For Everett’s writings see among other titles: Everett, Daniel. Don’t sleep, there are snakes: life and language in the Amazonian jungle (2008). Pantheon Books, New York.

  2. +
  3. The doomed soul in Greek mythology who had the repetitive job of daily pushing a huge stone up a hill only to see it roll down at the end of his efforts and leave him with the same task to perform the next day.

  4. +
+
+ + diff --git a/OTHERNESS/index.island.html b/OTHERNESS/index.island.html new file mode 100644 index 0000000..159826f --- /dev/null +++ b/OTHERNESS/index.island.html @@ -0,0 +1,27 @@ + + + + + + + index.island + + + + +

+

+Islands for Alterity +

+
+

Islands become an experience and a tool for understanding the world through the eye of the Otherness.

Trans-ocean explorations started in XV sec. and boosted by America’s discovery, have irreversibly changed the face of the world while affecting our perception of the “Other”. Otherness could also specifically describe how a dominant group could define other groups with less power, usually a dominant majority.

From the perspective of a map, the process of “Enlightenment” has been unreservedly redefined. Since its fruition, the drawn boundaries of the globe are made in a way as fluid and easy, as drawing some lines on paper during a phone call.

+

With the same readiness, it has been eventually possible to erase the spirituality and identity of “other”, small, submitted cultures. When the necessity to represent the “new world” by this new, western-oriented perspective came up, it brought with it the geographical renaming of places the conquistadores were imposing on. Naming is political, too. These outsider-imposed names (exonyms) are not the names that the various people knew in their own language (autonyms). The name is attached to stories that help people make sense of their lives, while also helping to understand how people fought to protect their boundaries. The current islands’ names have long been erased due to the limitations affecting cartographic representations.

+

Islands, for instance, are the only places where natural borders imposed by the water help to preserve local cultures from eventually-imposed boundaries. These are often followed by invasions; while making a privileged space for developing small and autonomous communities.

Sometimes centres of activity, residing on margins, the islands keep a hold onto an evocative force, even when they supposed to be only imaginary, as the example brought by Utopia by Thomas More (1516) would call back. Islands concretely represent the Otherness in its purest essence, while the Otherness finds in the Islands a flourishing soil to grow, remaining limited while still protecting, at the same time, their natural conformity. Islands become an experience and a tool for understanding the world through the eye of the Otherness.

In this Imaginary Atlas, Otherness is embodying various types of islands’ representations, which you can use to imagine and build new community-structures for the future.

+
+ + diff --git a/OTHERNESS/index.island.md b/OTHERNESS/index.island.md new file mode 100644 index 0000000..58c2ae0 --- /dev/null +++ b/OTHERNESS/index.island.md @@ -0,0 +1,17 @@ +

+

Islands for Alterity

+
+ +Islands become an experience and a tool for understanding the world through the eye of the Otherness.

+Trans-ocean explorations started in XV sec. and boosted by America's discovery, have irreversibly changed the face of the world while affecting our perception of the "Other". Otherness could also specifically describe how a dominant group could define other groups with less power, usually a dominant majority.

+From the perspective of a map, the process of "Enlightenment" has been unreservedly redefined. Since its fruition, the drawn boundaries of the globe are made in a way as fluid and easy, as drawing some lines on paper during a phone call. + +With the same readiness, it has been eventually possible to erase the spirituality and identity of "other", small, submitted cultures. When the necessity to represent the "new world" by this new, western-oriented perspective came up, it brought with it the geographical renaming of places the conquistadores were imposing on. Naming is political, too. These outsider-imposed names (exonyms) are not the names that the various people knew in their own language (autonyms). The name is attached to stories that help people make sense of their lives, while also helping to understand how people fought to protect their boundaries. The current islands' names have long been erased due to the limitations affecting cartographic representations. + +Islands, for instance, are the only places where natural borders imposed by the water help to preserve local cultures from eventually-imposed boundaries. These are often followed by invasions; while making a privileged space for developing small and autonomous communities.

Sometimes centres of activity, residing on margins, the islands keep a hold onto an evocative force, even when they supposed to be only imaginary, as the example brought by Utopia by Thomas More (1516) would call back. Islands concretely represent the Otherness in its purest essence, while the Otherness finds in the Islands a flourishing soil to grow, remaining limited while still protecting, at the same time, their natural conformity. Islands become an experience and a tool for understanding the world through the eye of the Otherness. +

+In this Imaginary Atlas, Otherness is embodying various types of islands' representations, which you can use to imagine and build new community-structures for the future. +
+ + + diff --git a/OTHERNESS/index.md b/OTHERNESS/index.md new file mode 100644 index 0000000..dc1c704 --- /dev/null +++ b/OTHERNESS/index.md @@ -0,0 +1,167 @@ +Otherness - Wor(l)ds +          For The Future.
See
the original Contribution or go to Text as a Map
+ +

Please, notice:
Some of the original references to the people and places along the story have been erased to make space for your individual perspective.

+
+
+ + Fig.1 (Background) + +Location of Pirahã's Sites on Maici River, Brazil. Extract from Daniel Everett's documentation. +
+ +Otherness by + +Acampamento Pirahã, próximo a Transamazônica. Rio Maici. Picture: Ezequias Hering, 1981 +
+
+
+ + Fig.2 + + Acampamento Pirahã, próximo a Transamazônica. Rio Maici. Foto: Ezequias Hering, 1981 +
+
+
+When I was 26, I moved to the , from , in order to study the language and culture of a people that were believed to be unrelated to any other people. I flew in a small missionary plane, a bumpy nausea-inducing ride, to meet people for the first time. My body was weak; my brain was taut with anxiety and anticipation. The are unrelated to any other. They speak a language that many linguists had unsuccessfully attempted to understand. My task would be to understand where little understanding currently existed. This encounter with these ‘others’ so unlike myself, was to be the defining experience for the rest of my life. + +One of the greatest challenges of our species is alterity, ‘otherness.’ All cultures for reasons easy enough to understand fear other culturesR. War and conflict have defined humans for nearly two million years. When we encounter others unlike ourselves, we frequently become uncomfortable, suspicious. A new neighbor from another country. A friend of our child who has a different color. Someone whose gender is not a simple binary classification. This is an old problem. Jesus himself fell under suspicion for befriending a woman thought to be a prostitute, Mary Magdalene. She was unlike the religious people of Jesus's day. An ‘other.’ + +
+
+
+ + Otherness = Alterity + +The "other of two". It is also increasingly being used in media to express something other than "sameness", or something outside of tradition or convention. +
+
+
+Those unlike ourselves may eat different food, be unintelligible to us when speaking to those more like themselves, build different-looking homes, or, in the view of some who most fears otherness, simply live ‘wrongly.’ To some, others are not only suspect, but their differences are morally unacceptable. +When I first entered the as a , this was my belief. Everyone needed and if they didn't believe in him, they were deservedly going to eternal torment. In my encounter with the , though I was uneasy, I realize now, ironically, that I was actually the dangerous one, the one who came with insufficient respect, with an ego-centric and ethno-centric view of my own ‘rightness.’ How fortunate for me that this gentle people disabused me of so many of my silly beliefs. Though this years-long encounter with the Pirahãs was to improve my life globally, it certainly didn't seem that way at first. + +During my first day among the I was taken by a young man to a fire by his hut. He pointed at a large rodent on the fire with its tongue still hanging out and a small pool of blood at the edge of the fire. The hair was burning off of the fresh kill. The young man uttered a then-unintelligible phrase: Gí obáaʔáí kohoáipi gíisai? Later I learned that this meant, "Do you know how to eat this?" And I also learned that if you don't want any offered food, you can simply say, "No, I don't know how to eat it." No one loses face. It is an easy, polite structure that allows you to avoid foods you don't wantA. Many other cultures, Western cultures for example, don't tend to be this polite. We often simply offer people things to eat and get offended if they refuse. Unlike among the , there is a more portent pressure in some Western cultures for a guest to eat whatever the host offers. + +

For almost all of us, we experience the world first through our mother. All that we touch, taste, hear, smell, see, and eventually come to know and understand begins with her and is mediated by her. As we develop of course we notice others close to our mother - our father, siblings, and others. But until our first experiences as individuals begin outside the home, our values, languageM, and ways of thinking all result from interactions with our mother and the select small group she is part of. These early apperceptions shape our subsequent lives. They lead not only to an individual sense of identity but also to a conception of what a ‘normal identity’ is. This is all very comfortable. We learn early on that new behavior and new information entail effort. Why listen to dissonant jazz when the steady 4/4 beat of country or rock is familiar? Why eat haggis instead of pot roast? Comfort food is just food that requires no gaining of acquired tastes. Why learn another language? Why make friends of a different color, a different sexual orientation, or a different nationality? Why should a professor make friends with a cowboy? These efforts go against the biological preference for expending as little energy as possible and maintenance of the status quo. The work of learning about otherness is worthwhile, but this is not always obvious initially. + +Adult Pirahãs drawing of a cat. +

+
+
+ + Fig.3 + + Drawing of a cat made by a Pirahã woman. +
+
+
+

+Linguists recognized long ago that the first rule of language is that ‘we talk like who we talk with’. And other behavioral scientists have realized that ‘we eat like who we eat with’, ‘we create like who we think with’, and ‘we think like who we think with’. Our earliest associations teach us not only how to think, create, talk, and eat, but to evaluate normal or correct thinking, talking, eating, and creating based on our narrow range of experiences. The crucial differences between others and our in-group are values, language, social roles, and knowledge structuresL. All else emerges from these, or so I have claimed in my own writings. [^1] Each builds on the others as we learn them in the context of familiarity, a society of intimates (i.e. our family or our village). This leads to a conceptualization of our own identity. For example, I know in some way that I am Dan. Yet no one, not even ourselves, fully understands what it means to be ourselves. The construction of our identityH through the familiar leads us to think of what is not us, not our family, not our norm. Inevitably, as our experience expands we meet others that do not fit neatly into our expectations. These are ‘the others.’

+ +

In 1990, accompanied me to several villages in order to conduct a pilot study of language learning among . We set up cameras on a hut, in full view, with the permission of its occupants, and started filming. We both were in the film, talking to the adults about their beliefs and children's behavior. After we were done filming, we noticed something that we had not seen before, because it was happening behind us. A toddler, perhaps a year and half old, was playing with a sharp kitchen knife with a 30cm blade. He was swinging it nonchalantly, almost stabbing himself in his face, legs, and midsection; occasionally swinging it close to his mother's face and back. We initially assumed that the mother didn't see her toddler's dangerous toy. But then, as she was talking to another woman, the camera recorded the baby dropping the knife and starting to cry. Barely glancing backwards at her child, the mother casually leaned over, picked the knife up off the ground and handed it back to the baby, who returned gleefully to his quasi-stabbing of himself. This was a confrontation of valuesP for Peter and myself, underscoring the otherness divide between the and us. Wasn't the mother concerned about her child's welfare? She was indeed. But to the a cut or non-life-threatening injury is the price that occasionally must be paid in order to learn the skills necessary to survive in the jungle. Would a Dutch mother give her child a sharp knife as a toy, believing that any piercing of the child's flesh would be compensated for by its contribution to the child's development? Could she even respect this other (m)otherness - the otherness at the root of our lives?

+Daniel Everett's first annotations on Pirahãs spoken language, July 1995 +
+
+
+ + Fig.4 + + Daniel Everett's first annotations on Pirahãs' spoken language, July 1995 +
+
+
+ +

When I first encountered the , I learned the language by pointing and giving the name in English. I would pick up a stick and say, "stick." The , most of them anyway, would give me the translation in their languageT. Then I might let the stick drop to the ground and say, "the stick falls to the ground" or, "I throw the stick away" or, "two sticks drop to the ground," and so on. I would transcribe the responses and say them back at least three times to the speaker, making sure I had them right. I was able to follow their translations and also write down their comments. But the occasional speaker would ignore my request and instead say something that turned out to be even more interesting. Ɂaooí Ɂaohoaí sahaɁaí ɁapaitíisoɁabaɁáígio hiahoaáti, which means: "Do not talk with a crooked head. Talk with a straight head." The wanted me to talk like a person, not like a bizarre foreigner. Like an American tourist in France, the Pirahãs could not understand why I couldn't speak their language. Then one day a missionary plane had brought us some supplies in the jungle. Among those was lettuce. I was so excited to have greens. The eat no greens and think of them as worm food. I was cheerfully eating lettuce from a bowl when a friend walked up and said, "That's why you don't speak yet. We don't eat leaves."

+ +
+
+
+ + Fun Fact + +All Pirahã people know the name of every single species of flora and fauna in their environment. +
+
+
+ +

In other words, the man believed that language emerges from culture as well as the entirety of our behavior as members of a society. This is a belief I have come to as well. They felt we could not learn their language at native level unless we became also part of their culture; and native level is what matters to them, there are no prizes for merely speaking their language intelligibly. This was against everything I had been taught about language in university courses, and it underscored the gap between them and me. Languages and cultures interact symbioticallyM, each affecting the other. Our sense of self and of society emerges from our enveloping culture and from the language and accents we hear most during our childhood developmentL. The speed of our conversations and the structures of our interactions with others are formed in local communities of people like ourselves. The most comfortable conversations are with people who sound like you, put their phrases together as you do, and who reach similar conclusions.

+ +
+ +
+
+ + Fig.5 + +For Pirahãs, there are no words for “good night". They would say: "Don’t Sleep, There Are Snakes". +
+
+
+ +

There are many ways in which we confront otherness. Strangers are not always people. Nature is often a foreigner to most of us and we can learn by submitting ourselves to it. One reason that I annually read the American Henry David Thoreau's Walden, my favorite book in all of American literature, is that Thoreau was so articulately different from me. That is irrelevant to Thoreau's account of his year alone. His year was a brilliant experiment. Thoreau did not remain at Walden. He returned to take up a fairly boring life as a handyman in the adjacent city of Concord, Massachusetts. Yet, the book he wrote is full brilliant observations based on the concepts of American Transcendentalism: the idea that people and nature are inherently good and that they are best when left alone by society and its institutions. Transcendentalism implies that as we come to know ourselves and remove the otherness of nature by experiencing it with all our senses.

+ +

That our sense of onenessA with others, as embodied in that very nature, grows. Thoreau's insights into his lessons from nature – as the stranger - teach us about what it means to live as a human, to be independent, and to occupy a part of the natural world. Through Thoreau we encounter the strangeness of a solitary life in nature. Oneness with ourselves and nature – and the others that are strange to us but are, like us, just part of nature – requires slow work of contemplation and experience that at once embraces the otherness of nature. It demands working towards removing this sense of otherness and embracing it as part of the oneness that we seek with the worldE around us.

+ +
+
+
+ + Summary + +Otherness is related to anything considered as stranger, referring both living creatures and material things to. Embrace the otherness of nature makes our sense of oneness with others flourish. +
+
+
+ +

Otherness, as I see it, is the spark of original thought and greater appreciation of natureL, while the sense of oneness is the paradoxical goal of encounters with otherness. We need a sense of oneness of ourselves with nature to clearly see otherness, and we need otherness to build a more encompassing and panoramic sense of self and oneness with the world. Thoreau ignored society to know himself. Most of us ignore ourselves to be part of society. Thoreau eloquently expressed the loss that, being carried away by the demands of others and society, brings us to our sense of self. We think of conformity rather than our own unique identity and so blur who we are as individuals. Thoreau captured this well when he exclaimed that, "the one is more important than the million." That is, it is only as we each individually appreciate our oneness with the world, nature, and the other as part of this oneness that we can achieve the best individual life, and thus society.
+

+

Thoreau’s hut Walden stands still as light in the heart of the forest, a small cabin where one can sit and think and read and wonder about the reasons for living. Jungle nights were this light in my life, as I sat around campfires, talking in a language that was so hard for me to learnP. Albert Camus said that the biggest mystery of philosophy is why not everyone commits suicide when honestly contemplating the futility of life. As a possible answer to his own question, Camus in his essay The Myth of Sisyphus, held up poor Sisyphus [^2] as an example of a good life. Sisyphus, after all, had an objective, one that entailed a measurable daily activity that always ended in the accomplishment of getting that rock up the hill. But Thoreau perspective rejects Camus's analysis. He saw no reason to count familiarity or predictability of social life, foods, or accomplishments as among the goals of life. They teach us little and change our behavior insignificantly. His example was that we learn most when we insert ourselves as aliens in new conceptual, cultural, and social environments (in his case, the absence of society). I am convinced that our lives become richer when they are less predictable. This is not to say that our lives are always predictable in the absence of the other. Otherness renders our expectations less fixed and requires more thinking, planning, and learning.

+ +
+Recording of a conversation between Pirahãs. The Pirahã people can communicate through humming, singing and whistling information. +
+
+ + Fig.6 + +Recording of a conversation between Pirahãs. The Pirahã can communicate through humming, singing and whistling information. +
+
+
+ +

The would disagree. They believe that it is homogeneity that gives us comfort and keeps us strong physically and psychologically. Otherness vs. predictability, which is more desirable? In essence, we need both even if we’d construct a greater sense of oneness that embraces the unexpected. The two greatest forces of preserving and constructing cultures are imitation and innovationL.

+ +

+When our environments, culturally and physically, are constant, innovation is rarely useful. Like biological mutations, cognitive and cultural innovations are usually unsuccessful. The effort to invent will usually isolate us as strange and less successful than those who merely imitate. Failed innovation in a society that most values imitation emphasizes our own ‘otherness’ and provides us with little advantage. As environments change – such as the ecology of the Pleistocene that so shaped our Homo ancestors, climate change today, the shifting political boundaries, or the intrusion of others into our environment – innovation becomes a more important force, providing new solutions to new problems that imitation alone is unable to provide. The live in an environment that has changed little over the centuries. They value conformity and imitation over innovation. Consequently their language has changed little over time. Records of their culture and language from the 18th century show a people identical to the people we encounterU today, three centuries later.

+ +
+Pirahã Results +
+
+ + Fig.7 + +Results of numerical tasks with varying cognitive demands on Pirahã. +
+
+
+ +

In environments that, especially culturally, change at light speed we need to learn to think, speak, act differently, and innovate in multiple areas simultaneously as the changes we encounter transform our familiar environment into ‘an other’. Every day brings problems that we never faced before. Diversity of experiences and encounters with others inspire new ways of thinking and new forms of living. If we all look the same, talk the same, value the same things, paint the same pictures, dance the same dances, and hear the same music then we are simply imitators falling behind the challenges of our world. This applies to all of us whether we are hunter-gatherers in the Amazon or advertising agents in New York City. It blinds us to new forms of beauty. What we see around us, with the rise of anti-immigration political movements in Europe and the USA is, at least partially, a fear of otherness. Our preference is for conformity and imitation; our fear then itself arises from that preference in contrast to otherness and the greater steps towards an ever more encompassing oneness of the type that motivated Thoreau. However, the ultimate engine of innovation is otherness – of people, food, environments, art, and culture – it strengthens us and prospers us.

+ +

Our languages and cognitive abilities expand as we learn new vocabularies and new values by talking to people and experiencing their relationships to natureR that are unlike our own. Human language emerged within the Homo line because it was the only creature to embrace otherness as to actively explore for the sake of exploration; to seek encounters with otherness. As Homo erectus sailed to islands beyond the horizon it invented symbols and language to cope with the greater need for communal efforts to expand experiences. Language change is an indication of cultural change (and cultural change will change language). Together, they amplify our species ability to innovate and survive. All that we are is the result of our human embrace of the other, the love of alterity that makes us distinct from all other creatures. Alterity is one of our greatest fears. And yet it should be our greatest treasure.

+ +
+ Daniel Everett at the University of Campinas + +Daniel L. Everett (USA) is a linguist and author best known for +his study of the Amazon Basin’s Pirahã people and their language. +His extensive writings about the experience of living among this +tribe and learning their culture and language – among which his +book Don’t Sleep, There Are Snakes: Life and Language in the +Amazonian Jungle, has been met with controversy among linguist, +biologists and other scientists worldwide. +
+ +[^1]: For Everett’s writings see among other titles: *Everett, Daniel. Don’t sleep, there are snakes: life and language in the Amazonian jungle* (2008). Pantheon Books, New York. + +[^2]: The doomed soul in Greek mythology who had the repetitive job of daily pushing a huge stone up a hill only to see it roll down at the end of his efforts and leave him with the same task to perform the next day. diff --git a/OTHERNESS/indexOG.html b/OTHERNESS/indexOG.html new file mode 100644 index 0000000..c7f9df6 --- /dev/null +++ b/OTHERNESS/indexOG.html @@ -0,0 +1,151 @@ + + + + + + + indexOG + + + + +Otherness - Wor(l)ds          For The Future.
See
You, the Others or go to Text as a Map
+

+Experience is the necessary transition to achieve the understanding of the alterity. Facing the “Other” affects our identity on the pre-built sense of “rightness”, shaped first by family education. The text aims to explore - between an antropological and linguistic framework, a rare and still intacted sub-group of the human diversity. +

+
+
+
+ Fig.1 (Background) Location of Pirahã’s Sites on Maici River, Brazil. Foto: Ezequias Hering, 1981.
The current Pirahã population is approximately 360 people. During both the 1920s and the 1970s, the estimated number was 90. In 1985, the date of the first census, FUNAI ("Fundação Nacional do Índio - National Indian Foundation, governmental agency) counted 141 people, registering an equal distribution between the sexes (cf. Levinho, 1986). In the dry season, this population is spread out in small groups along the Maici and a long stretch of the Marmelos river, concentrating their activities on the harvesting of Brazil-nuts in the locations where the product is exploitable. Two large Pirahã populational groups divide the territory. A group of approximately 120 individuals inhabits the region formed by the Marmelos and the shores of the Maici, as far as a place named Cuatá. Another grouping, composed of 100 people, lives about two days boat journey away from this place (Cuatá), occupying at least four sites as far as the Transamazonian. Source +
+ +

Original Contribution by Daniel L. Everett.

+Acampamento Pirahã, próximo a Transamazônica. Rio Maici. Foto: Ezequias Hering, 1981 +
+
+
+ Fig.2 Acampamento Pirahã, próximo a Transamazônica. Rio Maici. Foto: Ezequias Hering, 1981 +
+
+
+

When I was 26, I moved to the Amazon, from California, in order to study the language and culture of a people that were believed to be unrelated to any other people. I flew in a small missionary plane, a bumpy nausea-inducing ride, to meet the Pirahã people for the first time. My body was weak; my brain was taut with anxiety and anticipation. The Pirahãs are unrelated to any other. They speak a language that many linguists had unsuccessfully attempted to understand. My task would be to understand where little understanding currently existed. This encounter with these ‘others’ so unlike myself, was to be the defining experience for the rest of my life.

+

One of the greatest challenges of our species is alterity, ‘otherness.’ All cultures for reasons easy enough to understand fear other culturesR. War and conflict have defined humans for nearly two million years. When we encounter others unlike ourselves, we frequently become uncomfortable, suspicious. A new neighbor from another country. A friend of our child who has a different color. Someone whose gender is not a simple binary classification. This is an old problem. Jesus himself fell under suspicion for befriending a woman thought to be a prostitute, Mary Magdalene. She was unlike the religious people of Jesus’s day. An ‘other.’

+
+
+
+ Otherness = Alterity The “other of two” (Latin alter). It is also increasingly being used in media to express something other than “sameness”, or something outside of tradition or convention. +
+
+
+

Those unlike ourselves may eat different food, be unintelligible to us when speaking to those more like themselves, build different-looking homes, or, in the view of some who most fears otherness, simply live ‘wrongly.’ To some, others are not only suspect, but their differences are morally unacceptable. When I first entered the Amazon as a missionary, this was my belief. Everyone needed Jesus and if they didn’t believe in him, they were deservedly going to eternal torment. In my encounter with the Pirahãs, though I was uneasy, I realize now, ironically, that I was actually the dangerous one, the one who came with insufficient respect, with an ego-centric and ethno-centric view of my own ‘rightness.’ How fortunate for me that this gentle people disabused me of so many of my silly beliefs. Though this years-long encounter with the Pirahãs was to improve my life globally, it certainly didn’t seem that way at first.

+During my first day among the Pirahãs I was taken by a young man to a fire by his hut. He pointed at a large rodent on the fire with its tongue still hanging out and a small pool of blood at the edge of the fire. The hair was burning off of the fresh kill. The young man uttered a then-unintelligible phrase: Gí obáaʔáí kohoáipi gíisai? Later I learned that this meant, “Do you know how to eat this?” And I also learned that if you don’t want any offered food, you can simply say, “No, I don’t know how to eat it.” No one loses face. It is an easy, polite structure that allows you to avoid foods you don’t wantA. Many other cultures, Western cultures for example, don’t tend to be this polite. We often simply offer people things to eat and get offended if they refuse. Unlike among the Pirahãs, there is a more portent pressure in some Western cultures for a guest to eat whatever the host offers. +

+

+

For almost all of us, we experience the world first through our mother. All that we touch, taste, hear, smell, see, and eventually come to know and understand begins with her and is mediated by her. As we develop of course we notice others close to our mother - our father, siblings, and others. But until our first experiences as individuals begin outside the home, our values, languageM, and ways of thinking all result from interactions with our mother and the select small group she is part of. These early apperceptions shape our subsequent lives. They lead not only to an individual sense of identity but also to a conception of what a ‘normal identity’ is. This is all very comfortable. We learn early on that new behavior and new information entail effort. Why listen to dissonant jazz when the steady 4/4 beat of country or rock is familiar? Why eat haggis instead of pot roast? Comfort food is just food that requires no gaining of acquired tastes. Why learn another language? Why make friends of a different color, a different sexual orientation, or a different nationality? Why should a professor make friends with a cowboy? These efforts go against the biological preference for expending as little energy as possible and maintenance of the status quo. The work of learning about otherness is worthwhile, but this is not always obvious initially.

+Adult Pirahãs drawing of a cat. +
+
+
+ Fig.3 +

+The Pirahã language challenges simplistic application of Hockett’s nearly universally accepted design features of human language by showing that some of these features (interchangeability, displacement, and productivity) may be culturally constrained. In particular, Pirahã culture constrains communication to nonabstract subjects which fall within the immediate experience of interlocutors. This constraint explains a number of very surprising features of Pirahã grammar and culture: the absence of numbers of any kind or a concept of counting and of any terms for quantification, the absence of color terms, the absence of embedding, the simplest pronoun inventory known, the absence of “relative tenses,” the simplest kinship system yet documented, the absence of creation myths and fiction, the absence of any individual or collective memory of more than two generations past, the absence of drawing or other art and one of the simplest material cultures documented, and the fact that the Pirahã are monolingual after more than 200 years of regular contact with Brazilians and the Tupi-Guarani-speaking Kawahiv. Source +

+
+
+
+

Linguists recognized long ago that the first rule of language is that ‘we talk like who we talk with’. And other behavioral scientists have realized that ‘we eat like who we eat with’, ‘we create like who we think with’, and ‘we think like who we think with’. Our earliest associations teach us not only how to think, create, talk, and eat, but to evaluate normal or correct thinking, talking, eating, and creating based on our narrow range of experiences. The crucial differences between others and our in-group are values, language, social roles, and knowledge structuresL. All else emerges from these, or so I have claimed in my own writings. 1 Each builds on the others as we learn them in the context of familiarity, a society of intimates (i.e. our family or our village). This leads to a conceptualization of our own identityH. For example, I know in some way that I am Dan. Yet no one, not even ourselves, fully understands what it means to be ourselves. The construction of our identity through the familiar leads us to think of what is not us, not our family, not our norm. Inevitably, as our experience expands we meet others that do not fit neatly into our expectations. These are ‘the others.’

+

+In 1990, Columbia University psychologist Peter Gordon accompanied me to several Pirahã villages in order to conduct a pilot study of language learning among Pirahã children. We set up cameras on a hut, in full view, with the permission of its occupants, and started filming. We both were in the film, talking to the adults about their beliefs and children’s behavior. After we were done filming, we noticed something that we had not seen before, because it was happening behind us. A toddler, perhaps a year and half old, was playing with a sharp kitchen knife with a 30cm blade. He was swinging it nonchalantly, almost stabbing himself in his face, legs, and midsection; occasionally swinging it close to his mother’s face and back. We initially assumed that the mother didn’t see her toddler’s dangerous toy. But then, as she was talking to another woman, the camera recorded the baby dropping the knife and starting to cry. Barely glancing backwards at her child, the mother casually leaned over, picked the knife up off the ground and handed it back to the baby, who returned gleefully to his quasi-stabbing of himself. This was a confrontation of valuesP for Peter and myself, underscoring the otherness divide between the Pirahãs and us. Wasn’t the Pirahã mother concerned about her child’s welfare? She was indeed. But to the Pirahãs a cut or non-life-threatening injury is the price that occasionally must be paid in order to learn the skills necessary to survive in the jungle. Would a Dutch mother give her child a sharp knife as a toy, believing that any piercing of the child’s flesh would be compensated for by its contribution to the child’s development? Could she even respect this other (m)otherness - the otherness at the root of our lives? +

+Daniel Everett's first annotations on Pirahãs spoken language, July 1995 +
+
+
+ Fig.4 Daniel Everett’s first annotations on Pirahãs spoken language, July 1995 +
+
+
+

+When I first encountered the Pirahãs, I learned the language by pointing and giving the name in English. I would pick up a stick and say, “stick.” The Pirahãs, most of them anyway, would give me the translation in their languageT. Then I might let the stick drop to the ground and say, “the stick falls to the ground” or, “I throw the stick away” or, “two sticks drop to the ground,” and so on. I would transcribe the responses and say them back at least three times to the speaker, making sure I had them right. I was able to follow their translations and also write down their comments. But the occasional speaker would ignore my request and instead say something that turned out to be even more interesting. Ɂaooí Ɂaohoaí sahaɁaí ɁapaitíisoɁabaɁáígio hiahoaáti, which means: “Do not talk with a crooked head. Talk with a straight head.” The Pirahãs wanted me to talk like a person, not like a bizarre foreigner. Like an American tourist in France, the Pirahãs could not understand why I couldn’t speak their language. Then one day a missionary plane had brought us some supplies in the jungle. Among those was lettuce. I was so excited to have greens. The Pirahãs eat no greens and think of them as worm food. I was cheerfully eating lettuce from a bowl when a Pirahã friend walked up and said, “That’s why you don’t speak Pirahã yet. We don’t eat leaves.” +

+
+
+
+ Fun Fact All Pirahã people know the name of every single species of flora and fauna in their environment. This is because these words are central to their way of life. Not having the ability to count money has no effect on their lives because they just have no need for it or the words used to describe it. +
+
+
+

+In other words, the Pirahã man believed that language emerges from culture as well as the entirety of our behavior as members of a society. This is a belief I have come to as well. They felt we could not learn their language at native level unless we became also part of their culture; and native level is what matters to them, there are no prizes for merely speaking their language intelligibly. This was against everything I had been taught about language in university courses, and it underscored the gap between them and me. Languages and cultures interact symbioticallyM, each affecting the other. Our sense of self and of society emerges from our enveloping culture and from the language and accents we hear most during our childhood developmentL. The speed of our conversations and the structures of our interactions with others are formed in local communities of people like ourselves. The most comfortable conversations are with people who sound like you, put their phrases together as you do, and who reach similar conclusions. +

+
+ +
+
+ Fig.5 The phrase “good night” is ingrained in our cultural lexicon. These two words start out playing an essential role in early childhood by way of soothing and rhythmic classics such as Goodnight Moon and Good Night, Gorilla. They are often the last words we hear our parents whisper to us before we fall asleep. Among adults, they’re taken for granted as a universal social signifier — a way to wish our friends and family a restful sleep, or a pleasantry upon our departure from a social evening out, no matter where in the world we are. For Pirahãs, there are no words for “good night.” This anomaly was first noted by linguistics professor Daniel Everett in his fascinating book, Don’t Sleep, There Are Snakes. In fact, the title itself echoes the words used by tribe members before they settle down for sleep.
The Pirahãs say different things when they leave my hut at night on their way to bed. Sometimes they just say, “I’m going.” But frequently they use an expression… ”Don’t sleep, there are snakes.” The Pirahãs say this for two reasons. First they believe that by sleeping less they can “harden themselves,” a value they all share. Second, they know that danger is all around them in the jungle and that sleeping soundly can leave them defenseless.
Indeed, their sleep pattern is unlike that in the modernized world. It’s common for tribe members to sleep for just an hour or two and then go about their activities, sleeping again when they get tired. “During the night it is rare, though not unheard of, for the entire village to be silent,” Everett says. “Usually, there will be some sleeping and some playing, some talking, some laughing all night long. There simply are no culturally defined sleep periods among the Pirahã.” Which could explain why it wouldn’t make sense to wish someone a good night if he or she were only lying down for a brief rest. Source +
+
+
+

+

There are many ways in which we confront otherness. Strangers are not always people. Nature is often a foreigner to most of us and we can learn by submitting ourselves to it. One reason that I annually read the American Henry David Thoreau’s Walden, my favorite book in all of American literature, is that Thoreau was so articulately different from me. That is irrelevant to Thoreau’s account of his year alone. His year was a brilliant experiment. Thoreau did not remain at Walden. He returned to take up a fairly boring life as a handyman in the adjacent city of Concord, Massachusetts. Yet, the book he wrote is full brilliant observations based on the concepts of American Transcendentalism: the idea that people and nature are inherently good and that they are best when left alone by society and its institutions. Transcendentalism implies that as we come to know ourselves and remove the otherness of nature by experiencing it with all our senses.

+That our sense of onenessA with others, as embodied in that very nature, grows. Thoreau’s insights into his lessons from nature – as the stranger - teach us about what it means to live as a human, to be independent, and to occupy a part of the natural world. Through Thoreau we encounter the strangeness of a solitary life in nature. Oneness with ourselves and nature – and the others that are strange to us but are, like us, just part of nature – requires slow work of contemplation and experience that at once embraces the otherness of nature. It demands working towards removing this sense of otherness and embracing it as part of the oneness that we seek with the world around usE. +

+
+
+
+ Summary Otherness is related to anything considered as stranger, referring both living creatures and material things to. Embrace the otherness of nature makes our sense of oneness with others flourish. +
+
+
+

+Otherness, as I see it, is the spark of original thought and greater appreciation of natureL, while the sense of oneness is the paradoxical goal of encounters with otherness. We need a sense of oneness of ourselves with nature to clearly see otherness, and we need otherness to build a more encompassing and panoramic sense of self and oneness with the world. Thoreau ignored society to know himself. Most of us ignore ourselves to be part of society. Thoreau eloquently expressed the loss that, being carried away by the demands of others and society, brings us to our sense of self. We think of conformity rather than our own unique identity and so blur who we are as individuals. Thoreau captured this well when he exclaimed that, “the one is more important than the million.” That is, it is only as we each individually appreciate our oneness with the world, nature, and the other as part of this oneness that we can achieve the best individual life, and thus society. +

+
+Recording of a conversation between Pirahãs and Daniel Everett. +
+
+ Fig.6 The Pirahã people can communicate through humming, singing and whistling information to one another and their vocabulary covers everything in their own environment. +
+
+
+

+Thoreau’s hut Walden stands still as light in the heart of the forest, a small cabin where one can sit and think and read and wonder about the reasons for living. Jungle nights were this light in my life, as I sat around campfires, talking in a language that was so hard for me to learnP. Albert Camus said that the biggest mystery of philosophy is why not everyone commits suicide when honestly contemplating the futility of life. As a possible answer to his own question, Camus in his essay The Myth of Sisyphus, held up poor Sisyphus 2 as an example of a good life. Sisyphus, after all, had an objective, one that entailed a measurable daily activity that always ended in the accomplishment of getting that rock up the hill. But Thoreau perspective rejects Camus’s analysis. He saw no reason to count familiarity or predictability of social life, foods, or accomplishments as among the goals of life. They teach us little and change our behavior insignificantly. His example was that we learn most when we insert ourselves as aliens in new conceptual, cultural, and social environments (in his case, the absence of society). I am convinced that our lives become richer when they are less predictable. This is not to say that our lives are always predictable in the absence of the other. Otherness renders our expectations less fixed and requires more thinking, planning, and learning. +

+

+The Pirahãs would disagree. They believe that it is homogeneity that gives us comfort and keeps us strong physically and psychologically. Otherness vs. predictability, which is more desirable? In essence, we need both even if we’d construct a greater sense of oneness that embraces the unexpected. The two greatest forces of preserving and constructing cultures are imitation and innovation. When our environments, culturally and physically, are constant, innovation is rarely useful. Like biological mutations, cognitive and cultural innovations are usually unsuccessful. The effort to invent will usually isolate us as strange and less successful than those who merely imitate. Failed innovation in a society that most values imitation emphasizes our own ‘otherness’ and provides us with little advantage. As environments change – such as the ecology of the Pleistocene that so shaped our Homo ancestors, climate change today, the shifting political boundaries, or the intrusion of others into our environment – innovationL becomes a more important force, providing new solutions to new problems that imitation alone is unable to provide. The Pirahãs live in an environment that has changed little over the centuries. They value conformity and imitation over innovation. Consequently their language has changed little over time. Records of their culture and language from the 18th century show a people identical to the people we encounterU today, three centuries later. +

+
+Pirahã Results +
+
+ Fig.7 Results of numerical tasks with varying cognitive demands show that numerical cognition is clearly affected by the lack of a counting system in the language. Performance with quantities greater than three was remarkably poor, but showed a constant coefficient of variation, which is suggestive of an analog estimation process.
Results of number tasks with Pirahã villagers (n 0 7). Rectangles indicate AA batteries (5.0 cm by 1.4 cm), and circles indicate ground nuts. Center line indicates a stick between the author’s example array (below the line) and the participant’s attempt to ‘’make it the same’’ (above the line). Tasks A through D required the participant to match the lower array presented by the author using a line of batteries; task E was similar, but involved the unfamiliar task of copying lines drawn on paper; task F was a matching task where the participant saw the numerical display for only about 1 s before it was hidden behind a screen; task G involved putting nuts into a can and withdrawing them one by one; (participants responded after each withdrawal as to whether the can still contained nuts or was empty); task H involved placing candy inside a box with a number of fish drawn on the lid (this was then hidden and brought out again with another box with one more or one less fish on the lid, and participants had to choose which box contained the candy).Source +
+
+
+

+In environments that, especially culturally, change at light speed we need to learn to think, speak, act differently, and innovate in multiple areas simultaneously as the changes we encounter transform our familiar environment into ‘an other’. Every day brings problems that we never faced before. Diversity of experiences and encounters with others inspire new ways of thinking and new forms of living. If we all look the same, talk the same, value the same things, paint the same pictures, dance the same dances, and hear the same music then we are simply imitators falling behind the challenges of our world. This applies to all of us whether we are hunter-gatherers in the Amazon or advertising agents in New York City. It blinds us to new forms of beauty. What we see around us, with the rise of anti-immigration political movements in Europe and the USA is, at least partially, a fear of otherness. Our preference is for conformity and imitation; our fear then itself arises from that preference in contrast to otherness and the greater steps towards an ever more encompassing oneness of the type that motivated Thoreau. However, the ultimate engine of innovation is otherness – of people, food, environments, art, and culture – it strengthens us and prospers us. +

+

+Our languages and cognitive abilities expand as we learn new vocabularies and new values by talking to people and experiencing their relationships to nature that are unlike our own. Human language emerged within the Homo line because it was the only creature to embrace otherness as to actively explore for the sake of exploration; to seek encounters with otherness. As Homo erectus sailed to islands beyond the horizon it invented symbols and language to cope with the greater need for communal efforts to expand experiences. Language change is an indication of cultural change (and cultural change will change language). Together, they amplify our species ability to innovate and survive. All that we are is the result of our human embrace of the other, the love of alterity that makes us distinct from all other creatures. Alterity is one of our greatest fears. And yet it should be our greatest treasure. +

+
+

 Daniel Everett at the University of Campinas

+

Daniel L. Everett (USA) is a linguist and author best known for his study of the Amazon Basin’s Pirahã people and their language. His extensive writings about the experience of living among this tribe and learning their culture and language – among which his book Don’t Sleep, There Are Snakes: Life and Language in the Amazonian Jungle, has been met with controversy among linguist, biologists and other scientists worldwide. He has continued to research language as a cultural tool and developed student guides for linguistic fieldwork. Everett has taught at several universities and since 2010 has been the dean of Arts and Sciences at Bentley University. In 2016, the University of Chicago press published Everett’s book Dark Matter of the Mind: the Culturally Articulated Unconscious. His latest book How Language Began is an attempt to trace back and tell the history of the origin and nature of language (coming Fall 2017).

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    +
  1. For Everett’s writings see among other titles: Everett, Daniel. Don’t sleep, there are snakes: life and language in the Amazonian jungle (2008). Pantheon Books, New York.

  2. +
  3. The doomed soul in Greek mythology who had the repetitive job of daily pushing a huge stone up a hill only to see it roll down at the end of his efforts and leave him with the same task to perform the next day.

  4. +
+
+ + diff --git a/OTHERNESS/indexOG.md b/OTHERNESS/indexOG.md new file mode 100644 index 0000000..88c9370 --- /dev/null +++ b/OTHERNESS/indexOG.md @@ -0,0 +1,190 @@ +Otherness - Wor(l)ds +          For The Future.
See
You, the Others or go to Text as a Map +

Experience is the necessary transition to achieve the understanding of the alterity. Facing the "Other" affects our identity on the pre-built sense of "rightness", shaped first by family education. The text aims to explore - between an antropological and linguistic framework, a rare and still intacted sub-group of the human diversity.

+
+
+ + Fig.1 (Background) + +Location of Pirahã's Sites on Maici River, Brazil. Foto: Ezequias Hering, 1981.
The current Pirahã population is approximately 360 people. During both the 1920s and the 1970s, the estimated number was 90. In 1985, the date of the first census, FUNAI ("Fundação Nacional do Índio - National Indian Foundation, governmental agency) counted 141 people, registering an equal distribution between the sexes (cf. Levinho, 1986). In the dry season, this population is spread out in small groups along the Maici and a long stretch of the Marmelos river, concentrating their activities on the harvesting of Brazil-nuts in the locations where the product is exploitable. Two large Pirahã populational groups divide the territory. A group of approximately 120 individuals inhabits the region formed by the Marmelos and the shores of the Maici, as far as a place named Cuatá. Another grouping, composed of 100 people, lives about two days boat journey away from this place (Cuatá), occupying at least four sites as far as the Transamazonian. Source +
+ +Original Contribution by Daniel L. Everett. + +Acampamento Pirahã, próximo a Transamazônica. Rio Maici. Foto: Ezequias Hering, 1981 +
+
+
+ + Fig.2 + +Acampamento Pirahã, próximo a Transamazônica. Rio Maici. Foto: Ezequias Hering, 1981 +
+
+
+When I was 26, I moved to the Amazon, from California, in order to study the language and culture of a people that were believed to be unrelated to any other people. I flew in a small missionary plane, a bumpy nausea-inducing ride, to meet the Pirahã people for the first time. My body was weak; my brain was taut with anxiety and anticipation. The Pirahãs are unrelated to any other. They speak a language that many linguists had unsuccessfully attempted to understand. My task would be to understand where little understanding currently existed. This encounter with these ‘others’ so unlike myself, was to be the defining experience for the rest of my life. + +One of the greatest challenges of our species is alterity, ‘otherness.’ All cultures for reasons easy enough to understand fear other culturesR. War and conflict have defined humans for nearly two million years. When we encounter others unlike ourselves, we frequently become uncomfortable, suspicious. A new neighbor from another country. A friend of our child who has a different color. Someone whose gender is not a simple binary classification. This is an old problem. Jesus himself fell under suspicion for befriending a woman thought to be a prostitute, Mary Magdalene. She was unlike the religious people of Jesus's day. An ‘other.’ + +
+
+
+ + Otherness = Alterity + +The "other of two" (Latin alter). It is also increasingly being used in media to express something other than "sameness", or something outside of tradition or convention. +
+
+
+Those unlike ourselves may eat different food, be unintelligible to us when speaking to those more like themselves, build different-looking homes, or, in the view of some who most fears otherness, simply live ‘wrongly.’ To some, others are not only suspect, but their differences are morally unacceptable. When I first entered the Amazon as a missionary, this was my belief. Everyone needed Jesus and if they didn't believe in him, they were deservedly going to eternal torment. In my encounter with the Pirahãs, though I was uneasy, I realize now, ironically, that I was actually the dangerous one, the one who came with insufficient respect, with an ego-centric and ethno-centric view of my own ‘rightness.’ How fortunate for me that this gentle people disabused me of so many of my silly beliefs. Though this years-long encounter with the Pirahãs was to improve my life globally, it certainly didn't seem that way at first. + +During my first day among the Pirahãs I was taken by a young man to a fire by his hut. He pointed at a large rodent on the fire with its tongue still hanging out and a small pool of blood at the edge of the fire. The hair was burning off of the fresh kill. The young man uttered a then-unintelligible phrase: Gí obáaʔáí kohoáipi gíisai? Later I learned that this meant, "Do you know how to eat this?" And I also learned that if you don't want any offered food, you can simply say, "No, I don't know how to eat it." No one loses face. It is an easy, polite structure that allows you to avoid foods you don't wantA. Many other cultures, Western cultures for example, don't tend to be this polite. We often simply offer people things to eat and get offended if they refuse. Unlike among the Pirahãs, there is a more portent pressure in some Western cultures for a guest to eat whatever the host offers.

+ +

For almost all of us, we experience the world first through our mother. All that we touch, taste, hear, smell, see, and eventually come to know and understand begins with her and is mediated by her. As we develop of course we notice others close to our mother - our father, siblings, and others. But until our first experiences as individuals begin outside the home, our values, languageM, and ways of thinking all result from interactions with our mother and the select small group she is part of. These early apperceptions shape our subsequent lives. They lead not only to an individual sense of identity but also to a conception of what a ‘normal identity’ is. This is all very comfortable. We learn early on that new behavior and new information entail effort. Why listen to dissonant jazz when the steady 4/4 beat of country or rock is familiar? Why eat haggis instead of pot roast? Comfort food is just food that requires no gaining of acquired tastes. Why learn another language? Why make friends of a different color, a different sexual orientation, or a different nationality? Why should a professor make friends with a cowboy? These efforts go against the biological preference for expending as little energy as possible and maintenance of the status quo. The work of learning about otherness is worthwhile, but this is not always obvious initially. + +Adult Pirahãs drawing of a cat. +

+
+
+ + Fig.3 + +

+The Pirahã language challenges simplistic application of Hockett's nearly universally accepted +design features of human language by showing that some of these features +(interchangeability, displacement, and productivity) may be culturally constrained. In +particular, Pirahã culture constrains communication to nonabstract subjects which fall within +the immediate experience of interlocutors. This constraint explains a number of very +surprising features of Pirahã grammar and culture: the absence of numbers of any kind or a +concept of counting and of any terms for quantification, the absence of color terms, the +absence of embedding, the simplest pronoun inventory known, the absence of "relative +tenses," the simplest kinship system yet documented, the absence of creation myths and +fiction, the absence of any individual or collective memory of more than two generations +past, the absence of drawing or other art and one of the simplest material cultures +documented, and the fact that the Pirahã are monolingual after more than 200 years of +regular contact with Brazilians and the Tupi-Guarani-speaking Kawahiv. Source +

+
+
+
+Linguists recognized long ago that the first rule of language is that ‘we talk like who we talk with’. And other behavioral scientists have realized that ‘we eat like who we eat with’, ‘we create like who we think with’, and ‘we think like who we think with’. Our earliest associations teach us not only how to think, create, talk, and eat, but to evaluate normal or correct thinking, talking, eating, and creating based on our narrow range of experiences. The crucial differences between others and our in-group are values, language, social roles, and knowledge structuresL. All else emerges from these, or so I have claimed in my own writings. [^1] Each builds on the others as we learn them in the context of familiarity, a society of intimates (i.e. our family or our village). This leads to a conceptualization of our own identityH. For example, I know in some way that I am Dan. Yet no one, not even ourselves, fully understands what it means to be ourselves. The construction of our identity through the familiar leads us to think of what is not us, not our family, not our norm. Inevitably, as our experience expands we meet others that do not fit neatly into our expectations. These are ‘the others.’ + +

In 1990, Columbia University psychologist Peter Gordon accompanied me to several Pirahã villages in order to conduct a pilot study of language learning among Pirahã children. We set up cameras on a hut, in full view, with the permission of its occupants, and started filming. We both were in the film, talking to the adults about their beliefs and children's behavior. After we were done filming, we noticed something that we had not seen before, because it was happening behind us. A toddler, perhaps a year and half old, was playing with a sharp kitchen knife with a 30cm blade. He was swinging it nonchalantly, almost stabbing himself in his face, legs, and midsection; occasionally swinging it close to his mother's face and back. We initially assumed that the mother didn't see her toddler's dangerous toy. But then, as she was talking to another woman, the camera recorded the baby dropping the knife and starting to cry. Barely glancing backwards at her child, the mother casually leaned over, picked the knife up off the ground and handed it back to the baby, who returned gleefully to his quasi-stabbing of himself. This was a confrontation of valuesP for Peter and myself, underscoring the otherness divide between the Pirahãs and us. Wasn't the Pirahã mother concerned about her child's welfare? She was indeed. But to the Pirahãs a cut or non-life-threatening injury is the price that occasionally must be paid in order to learn the skills necessary to survive in the jungle. Would a Dutch mother give her child a sharp knife as a toy, believing that any piercing of the child's flesh would be compensated for by its contribution to the child's development? Could she even respect this other (m)otherness - the otherness at the root of our lives?

+Daniel Everett's first annotations on Pirahãs spoken language, July 1995 +
+
+
+ + Fig.4 + +Daniel Everett's first annotations on Pirahãs spoken language, July 1995 +
+
+
+ +

When I first encountered the Pirahãs, I learned the language by pointing and giving the name in English. I would pick up a stick and say, "stick." The Pirahãs, most of them anyway, would give me the translation in their languageT. Then I might let the stick drop to the ground and say, "the stick falls to the ground" or, "I throw the stick away" or, "two sticks drop to the ground," and so on. I would transcribe the responses and say them back at least three times to the speaker, making sure I had them right. I was able to follow their translations and also write down their comments. But the occasional speaker would ignore my request and instead say something that turned out to be even more interesting. Ɂaooí Ɂaohoaí sahaɁaí ɁapaitíisoɁabaɁáígio hiahoaáti, which means: "Do not talk with a crooked head. Talk with a straight head." The Pirahãs wanted me to talk like a person, not like a bizarre foreigner. Like an American tourist in France, the Pirahãs could not understand why I couldn't speak their language. Then one day a missionary plane had brought us some supplies in the jungle. Among those was lettuce. I was so excited to have greens. The Pirahãs eat no greens and think of them as worm food. I was cheerfully eating lettuce from a bowl when a Pirahã friend walked up and said, "That's why you don't speak Pirahã yet. We don't eat leaves."

+ +
+
+
+ + Fun Fact + +All Pirahã people know the name of every single species of flora and fauna in their environment. This is because these words are central to their way of life. Not having the ability to count money has no effect on their lives because they just have no need for it or the words used to describe it. +
+
+
+ +

In other words, the Pirahã man believed that language emerges from culture as well as the entirety of our behavior as members of a society. This is a belief I have come to as well. They felt we could not learn their language at native level unless we became also part of their culture; and native level is what matters to them, there are no prizes for merely speaking their language intelligibly. This was against everything I had been taught about language in university courses, and it underscored the gap between them and me. Languages and cultures interact symbioticallyM, each affecting the other. Our sense of self and of society emerges from our enveloping culture and from the language and accents we hear most during our childhood developmentL. The speed of our conversations and the structures of our interactions with others are formed in local communities of people like ourselves. The most comfortable conversations are with people who sound like you, put their phrases together as you do, and who reach similar conclusions.

+ +
+ +
+
+ + Fig.5 + +The phrase “good night” is ingrained in our cultural lexicon. These two words start out playing an essential role in early childhood by way of soothing and rhythmic classics such as Goodnight Moon and Good Night, Gorilla. They are often the last words we hear our parents whisper to us before we fall asleep. Among adults, they’re taken for granted as a universal social signifier — a way to wish our friends and family a restful sleep, or a pleasantry upon our departure from a social evening out, no matter where in the world we are. For Pirahãs, there are no words for “good night.” This anomaly was first noted by linguistics professor Daniel Everett in his fascinating book, Don’t Sleep, There Are Snakes. In fact, the title itself echoes the words used by tribe members before they settle down for sleep.
+The Pirahãs say different things when they leave my hut at night on their way to bed. Sometimes they just say, “I’m going.” But frequently they use an expression… ”Don’t sleep, there are snakes.” The Pirahãs say this for two reasons. First they believe that by sleeping less they can “harden themselves,” a value they all share. Second, they know that danger is all around them in the jungle and that sleeping soundly can leave them defenseless.
+Indeed, their sleep pattern is unlike that in the modernized world. It’s common for tribe members to sleep for just an hour or two and then go about their activities, sleeping again when they get tired. +“During the night it is rare, though not unheard of, for the entire village to be silent,” Everett says. “Usually, there will be some sleeping and some playing, some talking, some laughing all night long. There simply are no culturally defined sleep periods among the Pirahã.” Which could explain why it wouldn’t make sense to wish someone a good night if he or she were only lying down for a brief rest. Source +
+
+
+ +

There are many ways in which we confront otherness. Strangers are not always people. Nature is often a foreigner to most of us and we can learn by submitting ourselves to it. One reason that I annually read the American Henry David Thoreau's Walden, my favorite book in all of American literature, is that Thoreau was so articulately different from me. That is irrelevant to Thoreau's account of his year alone. His year was a brilliant experiment. Thoreau did not remain at Walden. He returned to take up a fairly boring life as a handyman in the adjacent city of Concord, Massachusetts. Yet, the book he wrote is full brilliant observations based on the concepts of American Transcendentalism: the idea that people and nature are inherently good and that they are best when left alone by society and its institutions. Transcendentalism implies that as we come to know ourselves and remove the otherness of nature by experiencing it with all our senses. + +That our sense of onenessA with others, as embodied in that very nature, grows. Thoreau's insights into his lessons from nature – as the stranger - teach us about what it means to live as a human, to be independent, and to occupy a part of the natural world. Through Thoreau we encounter the strangeness of a solitary life in nature. Oneness with ourselves and nature – and the others that are strange to us but are, like us, just part of nature – requires slow work of contemplation and experience that at once embraces the otherness of nature. It demands working towards removing this sense of otherness and embracing it as part of the oneness that we seek with the world around usE.

+ +
+
+
+ + Summary + +Otherness is related to anything considered as stranger, referring both living creatures and material things to. Embrace the otherness of nature makes our sense of oneness with others flourish. +
+
+
+ +

Otherness, as I see it, is the spark of original thought and greater appreciation of natureL, while the sense of oneness is the paradoxical goal of encounters with otherness. We need a sense of oneness of ourselves with nature to clearly see otherness, and we need otherness to build a more encompassing and panoramic sense of self and oneness with the world. Thoreau ignored society to know himself. Most of us ignore ourselves to be part of society. Thoreau eloquently expressed the loss that, being carried away by the demands of others and society, brings us to our sense of self. We think of conformity rather than our own unique identity and so blur who we are as individuals. Thoreau captured this well when he exclaimed that, "the one is more important than the million." That is, it is only as we each individually appreciate our oneness with the world, nature, and the other as part of this oneness that we can achieve the best individual life, and thus society.

+ +
+Recording of a conversation between Pirahãs and Daniel Everett. +
+
+ + Fig.6 + +The Pirahã people can communicate through humming, singing and whistling information to one another and their vocabulary covers everything in their own environment. +
+
+
+ +

Thoreau’s hut Walden stands still as light in the heart of the forest, a small cabin where one can sit and think and read and wonder about the reasons for living. Jungle nights were this light in my life, as I sat around campfires, talking in a language that was so hard for me to learnP. Albert Camus said that the biggest mystery of philosophy is why not everyone commits suicide when honestly contemplating the futility of life. As a possible answer to his own question, Camus in his essay The Myth of Sisyphus, held up poor Sisyphus [^2] as an example of a good life. Sisyphus, after all, had an objective, one that entailed a measurable daily activity that always ended in the accomplishment of getting that rock up the hill. But Thoreau perspective rejects Camus's analysis. He saw no reason to count familiarity or predictability of social life, foods, or accomplishments as among the goals of life. They teach us little and change our behavior insignificantly. His example was that we learn most when we insert ourselves as aliens in new conceptual, cultural, and social environments (in his case, the absence of society). I am convinced that our lives become richer when they are less predictable. This is not to say that our lives are always predictable in the absence of the other. Otherness renders our expectations less fixed and requires more thinking, planning, and learning.

+ +

The Pirahãs would disagree. They believe that it is homogeneity that gives us comfort and keeps us strong physically and psychologically. Otherness vs. predictability, which is more desirable? In essence, we need both even if we’d construct a greater sense of oneness that embraces the unexpected. The two greatest forces of preserving and constructing cultures are imitation and innovation. When our environments, culturally and physically, are constant, innovation is rarely useful. Like biological mutations, cognitive and cultural innovations are usually unsuccessful. The effort to invent will usually isolate us as strange and less successful than those who merely imitate. Failed innovation in a society that most values imitation emphasizes our own ‘otherness’ and provides us with little advantage. As environments change – such as the ecology of the Pleistocene that so shaped our Homo ancestors, climate change today, the shifting political boundaries, or the intrusion of others into our environment – innovationL becomes a more important force, providing new solutions to new problems that imitation alone is unable to provide. The Pirahãs live in an environment that has changed little over the centuries. They value conformity and imitation over innovation. Consequently their language has changed little over time. Records of their culture and language from the 18th century show a people identical to the people we encounterU today, three centuries later.

+ +
+Pirahã Results +
+
+ + Fig.7 + +Results of numerical tasks with varying cognitive demands show that numerical cognition is clearly affected by the lack of a counting system in the language. Performance with quantities greater than three was remarkably poor, but showed a constant coefficient of variation, which is suggestive of an analog estimation process.
+Results of number tasks with Pirahã villagers (n 0 7). Rectangles indicate AA batteries (5.0 cm by 1.4 cm), and circles indicate ground nuts. Center line indicates a stick between the author's example array (below the line) and the participant's attempt to ''make it the same'' (above the line). Tasks A through D required the participant to match the lower array presented by the author using a line of batteries; task E was similar, but involved the unfamiliar task of copying lines drawn on paper; task F was a matching task where the participant saw the numerical display for only about 1 s before it was hidden behind a screen; task G involved putting nuts into a can and withdrawing them one by one; (participants responded after each withdrawal as to whether the can still contained nuts or was empty); task H involved placing candy inside a box with a number of fish drawn on the lid (this was then hidden and brought out again with another box with one more or one less fish on the lid, and participants had to choose which box contained the candy).Source +
+
+
+ +

In environments that, especially culturally, change at light speed we need to learn to think, speak, act differently, and innovate in multiple areas simultaneously as the changes we encounter transform our familiar environment into ‘an other’. Every day brings problems that we never faced before. Diversity of experiences and encounters with others inspire new ways of thinking and new forms of living. If we all look the same, talk the same, value the same things, paint the same pictures, dance the same dances, and hear the same music then we are simply imitators falling behind the challenges of our world. This applies to all of us whether we are hunter-gatherers in the Amazon or advertising agents in New York City. It blinds us to new forms of beauty. What we see around us, with the rise of anti-immigration political movements in Europe and the USA is, at least partially, a fear of otherness. Our preference is for conformity and imitation; our fear then itself arises from that preference in contrast to otherness and the greater steps towards an ever more encompassing oneness of the type that motivated Thoreau. However, the ultimate engine of innovation is otherness – of people, food, environments, art, and culture – it strengthens us and prospers us.

+ +

Our languages and cognitive abilities expand as we learn new vocabularies and new values by talking to people and experiencing their relationships to nature that are unlike our own. Human language emerged within the Homo line because it was the only creature to embrace otherness as to actively explore for the sake of exploration; to seek encounters with otherness. As Homo erectus sailed to islands beyond the horizon it invented symbols and language to cope with the greater need for communal efforts to expand experiences. Language change is an indication of cultural change (and cultural change will change language). Together, they amplify our species ability to innovate and survive. All that we are is the result of our human embrace of the other, the love of alterity that makes us distinct from all other creatures. Alterity is one of our greatest fears. And yet it should be our greatest treasure.

+ +
+ Daniel Everett at the University of Campinas + +Daniel L. Everett (USA) is a linguist and author best known for +his study of the Amazon Basin’s Pirahã people and their language. +His extensive writings about the experience of living among this +tribe and learning their culture and language – among which his +book Don’t Sleep, There Are Snakes: Life and Language in the +Amazonian Jungle, has been met with controversy among linguist, +biologists and other scientists worldwide. He has continued to +research language as a cultural tool and developed student guides +for linguistic fieldwork. Everett has taught at several universities +and since 2010 has been the dean of Arts and Sciences at Bentley +University. In 2016, the University of Chicago press published +Everett’s book Dark Matter of the Mind: the Culturally Articulated +Unconscious. His latest book How Language Began is an attempt to +trace back and tell the history of the origin and nature of language +(coming Fall 2017). +
+ +
+[^1]: For Everett’s writings see among other titles: *Everett, Daniel. Don’t sleep, there are snakes: life and language in the Amazonian jungle* (2008). Pantheon Books, New York. + +[^2]: The doomed soul in Greek mythology who had the repetitive job of daily pushing a huge stone up a hill only to see it roll down at the end of his efforts and leave him with the same task to perform the next day. + +
\ No newline at end of file diff --git a/OTHERNESS/index_nouns.html b/OTHERNESS/index_nouns.html new file mode 100644 index 0000000..ea9370b --- /dev/null +++ b/OTHERNESS/index_nouns.html @@ -0,0 +1,101 @@ + + + + + + + index_nouns + + + + +Otherness - Wor(l)ds          For The Future.
See
Islands You, the Others or go to the original Text +

+Otherness is
“Everything, beyond me.”
“Everything, including me.” +

+

The nouns, stripped of all context, are just nouns. Otherness presumes at least two terms of comparison. What defines the identity of you and others; of all things, both tangible and intangible, are the correlations between these things themselves. Meanwhile, the ensemble of all these connections continues regenerating the reality in which we live.

Based on these assumptions, our world is shaped by complex patterns of associations between all the things we encounter day-by-day through life experience, which are dependently inter-connected: nature, people, culture, language and knowledge. Holding the Otherness becomes the only possibility to re-imagine a well-balanced future, that would include space both for individual perspective and small-fragmented realities, which, in turn, could be eventually preserved from a ferocious innovation.

+

Otherness by Jacopo Lega

+

When I was 26, I moved to the Amazon, from California, in order to study the language and culture of a people that were believed to be unrelated to any otherpeople. I flew in a small missionary plane , a bumpy nausea-inducingride, to meet the Pirahãpeople for the first time. My body was weak; my brain was taut with anxiety and anticipation. The Pirahãs are unrelated to any other. They speak a language that many linguists had unsuccessfully attempted to understand. My task would be to understand where little understanding currently existed. This encounter with these ‘others’ so unlike myself, was to be the defining experience for the rest of my life.

+

Acampamento Pirahã, próximo a Transamazônica. Rio Maici. Foto: Ezequias Hering, 1981

+

One of the greatest challenges of our species is alterity,‘otherness.’ All cultures for reasons easy enough to understand fear other cultures. War and conflict have defined humans for nearly two million years. When we encounter others unlike ourselves, we frequently become uncomfortable, suspicious. A new neighbor from another country. A friend of ourchild who has a different color. Someone whose gender is not a simple binary classification. This is an old problem. Jesus himself fell under suspicion for befriending a woman thought to be a prostitute, Mary Magdalene. She was unlike the religious people of Jesus’s day. An ‘other.’

+

Those unlikeourselves may eat different food, be unintelligible to us when speaking to those more like themselves, build different-looking homes, or, in the view of some who most fears otherness, simply live ‘wrongly.’ To some, others are not only suspect, but their differences are morally unacceptable. When I first entered the Amazon as a missionary, this was my belief. Everyone needed Jesus and if they didn’t believe in him, they were deservedly going to eternal torment. In my encounter with the Pirahãs, though I was uneasy, I realize now, ironically, that I was actually the dangerous one, the one who came with insufficient respect, with an ego-centric and ethno-centric view of my own ‘rightness.’ How fortunate for me that this gentle people disabused me of so many of my silly beliefs. Though this years-long encounter with the Pirahãs was to improve my life globally, it certainly didn’t seem that way at first.

+During my first day among the Pirahãs I was taken by a youngman to a fire by hishut. He pointed at a large rodent on the fire with its tongue still hanging out and a small pool of blood at the edge of the fire. The hair was burning off of the fresh kill. The young man uttered a then-unintelligible phrase: Gí obáaʔáí kohoáipi gíisai? Later I learned that this meant, “Do you know how to eat this?” And I also learned that if you don’t want any offered food, you can simply say, “No, I don’t know how to eat it.” No one loses face. It is an easy, polite structure that allows you to avoid foods you don’t want. Many other cultures, Western cultures for example, don’t tend to be this polite. We often simply offer people things to eat and get offended if they refuse. Unlike among the Pirahãs, there is a more portent pressure in some Western cultures for a guest to eat whatever the host offers. +

+

+

For almost all of us, we experience the world first through our mother. All that we touch, taste, hear, smell, see, and eventually come to know and understand begins with her and is mediated by her. As we develop of course we notice others close to our mother - our father, siblings, and others. But until our first experiences as individuals begin outside the home, our values, language, and ways of thinking all result from interactions with our mother and the select small group she is part of. These early apperceptions shape our subsequent lives. They lead not only to an individual sense of identity but also to a conception of what a ‘normal identity’ is. This is all very comfortable. We learn early on that new behavior and new information entail effort. Why listen to dissonant jazz when the steady 4/4 beat of country or rock is familiar? Why eat haggis instead of pot roast? Comfort food is just food that requires no gaining of acquired tastes. Why learn another language? Why make friends of a different color, a different sexual orientation, or a different nationality? Why should a professor make friends with a cowboy? These efforts go against the biological preference for expending as little energy as possible and maintenance of the status quo. The work of learning about otherness is worthwhile, but this is not always obvious initially.

+

Adult Pirahãs drawing of a cat.

+

Linguists recognized long ago that the first rule of language is that ‘we talk like who we talk with’. And other behavioral scientists have realized that ‘we eat like who we eat with’, ‘we create like who we think with’, and ‘we think like who we think with’. Our earliest associations teach us not only how to think, create, talk, and eat, but to evaluate normal or correct thinking, talking, eating, and creating based on our narrow range of experiences. The crucial differences between others and our in-group are values, language, social roles, and knowledge structures. All else emerges from these, or so I have claimed in my own writings. [^1] Each builds on the others as we learn them in the context of familiarity, a society of intimates (i.e. our family or our village. This leads to a conceptualization of our own identity. For example, I know in some way that I am Dan. Yet no one, not even ourselves, fully understands what it means to be ourselves. The construction of our identity through the familiar leads us to think of what is not us, not our family, not our norm. Inevitably, as our experience expands we meet others that do not fit neatly into our expectations. These are ‘the others.’

+

+In 1990, Columbia University psychologist Peter Gordon accompanied me to several Pirahã villages in order to conduct a pilot study of language learning among Pirahã children. We set up cameras on a hut, in full view, with the permission of its occupants, and started filming. We both were in the film, talking to the adults about their beliefs and children’s behavior. After we were done filming, we noticed something that we had not seen before, because it was happening behind us. A toddler, perhaps a year and half old, was playing with a sharp kitchen knife with a 30cm blade. He was swinging it nonchalantly, almost stabbing himself in his face, legs, and midsection; occasionally swinging it close to his mother’s face and back. We initially assumed that the mother didn’t see her toddler’s dangerous toy. But then, as she was talking to another woman, the camera recorded the baby dropping the knife and starting to cry. Barely glancing backwards at her child, the mother casually leaned over, picked the knife up off the ground and handed it back to the baby, who returned gleefully to his quasi-stabbing of himself. This was a confrontation of values for Peter and myself, underscoring the otherness divide between the Pirahãs and us. Wasn’t the Pirahã mother concerned about her child’s welfare? She was indeed. But to the Pirahãs a cut or non-life-threatening injury is the price that occasionally must be paid in order to learn the skills necessary to survive in the jungle Would a Dutch mother give her child a sharp knife as a toy, believing that any piercing of the child’s flesh would be compensated for by its contribution to the child’s development? Could she even respect this other (m)otherness - the otherness at the root of our lives? +

+

+When I first encountered the Pirahãs, I learned the language by pointing and giving the name in English. I would pick up a stick and say, “stick.” The Pirahãs, most of them anyway, would give me the translation in their language. Then I might let the stick drop to the ground and say, “the stick falls to the ground” or, “I throw the stick away” or, “two sticks drop to the ground,” and so on. I would transcribe the responses and say them back at least three times to the speaker, making sure I had them right. I was able to follow their translations and also write down their comments. But the occasional speaker would ignore my request and instead say something that turned out to be even more interesting. Ɂaooí Ɂaohoaí sahaɁaí ɁapaitíisoɁabaɁáígio hiahoaáti, which means: "Do not talk with a crooked head. Talk with a straight head." The Pirahãs wanted me to talk like a person, not like a bizarre foreigner. Like an American tourist in France, the Pirahãs could not understand why I couldn’t speak their language. Then one day a missionary plane had brought us some supplies in the jungle. Among those was lettuce. I was so excited to have greens. The Pirahãs eat no greens and think of them as worm food. I was cheerfully eating lettuce from a bowl when a Pirahã friend walked up and said, "That’s why you don’t speak Pirahã yet. We don’t eat leaves." +

+

Daniel Everett's first annotations on Pirahãs spoken language, July 1995

+

+In other words, the Pirahã man believed that language emerges from culture as well as the entirety of our behavior as members of a society. This is a belief I have come to as well. They felt we could not learn their language at native level unless we became also part of their culture; and native level is what matters to them, there are no prizes for merely speaking their language intelligibly. This was against everything I had been taught about language in university courses, and it underscored the gap between them and me. Languages and cultures interact symbiotically, each affecting the other. Our sense of self and of society emerges from our enveloping culture and from the language and accents we hear most during our childhood development. The speed of our conversations and the structures of our interactions with others are formed in local communities of people like ourselves. The most comfortable conversations are with people who sound like you, put their phrases together as you do, and who reach similar conclusions. +

+

Originally published on Van Winkle's (October 2015)
+
+The phrase “good night” is ingrained in our cultural lexicon. These two words start out playing an essential role in early childhood by way of soothing and rhythmic classics such as Goodnight Moon and Good Night, Gorilla. They are often the last words we hear our parents whisper to us before we fall asleep.
+
+Among adults, they’re taken for granted as a universal social signifier — a way to wish our friends and family a restful sleep, or a pleasantry upon our departure from a social evening out, no matter where in the world we are.
+
+But in some cultures, no such words are spoken.
+
+Where? And why?
+In the language of one remote Amazonian tribe called the Pirahã (pronounced pee-da-HAN), there are no words for “good night.” This anomaly was first noted by linguistics professor Daniel Everett in his fascinating book, Don’t Sleep, There Are Snakes. In fact, the title itself echoes the words used by tribe members before they settle down for sleep. As Everett describes it:
+
+The Pirahãs say different things when they leave my hut at night on their way to bed. Sometimes they just say, “I’m going.” But frequently they use an expression… ”Don’t sleep, there are snakes.” The Pirahãs say this for two reasons. First they believe that by sleeping less they can “harden themselves,” a value they all share. Second, they know that danger is all around them in the jungle and that sleeping soundly can leave them defenseless.
+
+Everett has since referenced a common feature of most languages worldwide, called phatic communication — words used to create sociability and good will. For instance, we say, Hello, how are you? to express our connection and recognition that we’re in a setting in which others exist and are a part of our lives. These phrases serve as pleasantries. The person saying How are you? doesn’t actually want a laundry list of your illnesses or ailments.
+
+“The Pirahã lacks such expressions by and large,” Everett explains, though clearly “Don’t sleep, there are snakes,” while used half literally, is also being spoken half phatically. 
+
+Are their sleeping habits any different?
+                                                
+Indeed, their sleep pattern is unlike that in the modernized world. It’s common for tribe members to sleep for just an hour or two and then go about their activities, sleeping again when they get tired.
+
+“During the night it is rare, though not unheard of, for the entire village to be silent,” Everett says. “Usually, there will be some sleeping and some playing, some talking, some laughing all night long. There simply are no culturally defined sleep periods among the Pirahã.”
+
+Which could explain why it wouldn’t make sense to wish someone a good night if he or she were only lying down for a brief rest.
+
+Are there any other cultures that dispense with these niceties?
+According to Everett, another isolated Amazon tribe, the Banawa, as well as a handful of others, don’t have the equivalent words for “good night” in their language. And while it may be convenient to assume a lack of civilized sensibility, Everett says this isn’t the case. It’s just not important to them to say such things.
+
+The Pirahã language is different in several other ways as well. “They have no numbers, no fixed color terms, no perfect tense, no words for all, each, every, most or few — terms of quantification believed by some linguists to be among the common building blocks of human cognition.”
+
+Everett told The New Yorker, “I think one of the reasons that we haven’t found other groups like this is because we’ve been told, basically, that it’s not possible.”
+
+To us, “good night” is the only natural thing to say at day’s end, but different cultures and worldviews may require other words. In the case of the Pirahã, they’ve adopted more cautionary pleasantries.                                                
+Source: https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01209.x

+

+There are many ways in which we confront otherness. Strangers are not always people. Nature is often a foreigner to most of us and we can learn by submitting ourselves to it. One reason that I annually read the American Henry David Thoreau’s Walden, my favorite book in all of American literature, is that Thoreau was so articulately different from me. That is irrelevant to Thoreau’s account of his year alone. His year was a brilliant experiment. Thoreau did not remain at Walden. He returned to take up a fairly boring life as a handyman in the adjacent city of Concord, Massachusetts. Yet, the book he wrote is full brilliant observations based on the concepts of American Transcendentalism: the idea that people and nature are inherently good and that they are best when left alone by society and its institutions. Transcendentalism implies that as we come to know ourselves and remove the otherness of nature by experiencing it with all our senses. That our sense of oneness with others, as embodied in that very nature, grows. Thoreau’s insights into his lessons from nature – as the stranger - teach us about what it means to live as a human, to be independent, and to occupy a part of the natural world. Through Thoreau we encounter the strangeness of a solitary life in nature. Oneness with ourselves and nature – and the others that are strange to us but are, like us, just part of nature – requires slow work of contemplation and experience that at once embraces the otherness of nature. It demands working towards removing this sense of otherness and embracing it as part of the oneness that we seek with the world around us. +

+

+Otherness, as I see it, is the spark of original thought and greater appreciation of nature, while the sense of oneness is the paradoxical goal of encounters with otherness. We need a sense of oneness of ourselves with nature to clearly see otherness, and we need otherness to build a more encompassing and panoramic sense of self and oneness with the world. Thoreau ignored society to know himself. Most of us ignore ourselves to be part of society. Thoreau eloquently expressed the loss that, being carried away by the demands of others and society, brings us to our sense of self. We think of conformity rather than our own unique identity and so blur who we are as individuals. Thoreau captured this well when he exclaimed that, “the one is more important than the million.” That is, it is only as we each individually appreciate our oneness with the world, nature, and the other as part of this oneness that we can achieve the best individual life, and thus society. +

+

Recording of a conversation between Pirahãs and Daniel Everett.

+

+Thoreau’s hut Walden stands still as light in the heart of the forest, a small cabin where one can sit and think and read and wonder about the reasons for living. Jungle nights were this light in my life, as I sat around campfires, talking in a language that was so hard for me to learn. Albert Camus said that the biggest mystery of philosophy is why not everyone commits suicide when honestly contemplating the futility of life. As a possible answer to his own question, Camus in his essay The Myth of Sisyphus, held up poor Sisyphus [^2] as an example of a good life. Sisyphus, after all, had an objective, one that entailed a measurable daily activity that always ended in the accomplishment of getting that rock up the hill. But Thoreau perspective rejects Camus’s analysis. He saw no reason to count familiarity or predictability of social life, foods, or accomplishments as among the goals of life. They teach us little and change our behavior insignificantly. His example was that we learn most when we insert ourselves as aliens in new conceptual, cultural, and social environments (in his case, the absence of society). I am convinced that our lives become richer when they are less predictable. This is not to say that our lives are always predictable in the absence of the other. Otherness renders our expectations less fixed and requires more thinking, planning, and learning. +

+

+The Pirahãs would disagree. They believe that it is homogeneity that gives us comfort and keeps us strong physically and psychologically. Otherness vs. predictability, which is more desirable? In essence, we need both even if we’d construct a greater sense of oneness that embraces the unexpected. The two greatest forces of preserving and constructing cultures are imitation and innovation. When our environments, culturally and physically, are constant, innovation is rarely useful. Like biological mutations, cognitive and cultural innovations are usually unsuccessful. The effort to invent will usually isolate us as strange and less successful than those who merely imitate. Failed innovation in a society that most values imitation emphasizes our own ‘otherness’ and provides us with little advantage. As environments change – such as the ecology of the Pleistocene that so shaped our Homo ancestors, climate change today, the shifting political boundaries, or the intrusion of others into our environmentinnovation becomes a more important force, providing new solutions to new problems that imitation alone is unable to provide. The Pirahãs live in an environment that has changed little over the centuries. They value conformity and imitation over innovation. Consequently their language has changed little over time. Records of their culture and language from the 18th century show a people identical to the people we encounter today, three centuries later. +

+

Members of the Pirahã tribe use a “one-two-many” system of counting. I ask whether speakers of this innumerate language can appreciate larger numerosities without the benefit of words to encode them. This addresses the classic Whorfian question about whether language can determine thought. Results of numerical tasks with varying cognitive demands show that numerical cognition is clearly affected by the lack of a counting system in the language. Performance with quantities greater than three was remarkably poor, but showed a constant coefficient of variation, which is suggestive of an analog estimation process.
+
+Results of number tasks with Pirahã villagers (n 0 7). Rectangles indicate AA batteries (5.0 cm by 1.4 cm), and circles indicate ground nuts. Center line indicates a stick between the author's example array (below the line) and the participant's attempt to ''make it the same'' (above the line). Tasks A through D required the participant to match the lower array presented by the author using a line of batteries; task E was similar, but involved the unfamiliar task of copying lines drawn on paper; task F was a matching task where the participant saw the numerical display for only about 1 s before it was hidden behind a screen; task G involved putting nuts into a can and withdrawing them one by one; (participants responded after each withdrawal as to whether the can still contained nuts or was empty); task H involved placing candy inside a box with a number of fish drawn on the lid (this was then hidden and brought out again with another box with one more or one less fish on the lid, and participants had to choose which box contained the candy).

+

+In environments that, especially culturally, change at light speed we need to learn to think, speak, act differently, and innovate in multiple areas simultaneously as the changes we encounter transform our familiar environment into ‘an other’. Every day brings problems that we never faced before. Diversity of experiences and encounters with others inspire new ways of thinking and new forms of living. If we all look the same, talk the same, value the same things, paint the same pictures, dance the same dances, and hear the same music then we are simply imitators falling behind the challenges of our world. This applies to all of us whether we are hunter-gatherers in the Amazon or advertising agents in New York City. It blinds us to new forms of beauty. What we see around us, with the rise of anti-immigration political movements in Europe and the USA is, at least partially, a fear of otherness. Our preference is for conformity and imitation; our fear then itself arises from that preference in contrast to otherness and the greater steps towards an ever more encompassing oneness of the type that motivated Thoreau. However, the ultimate engine of innovation is otherness – of people, food, environments, art, and culture – it strengthens us and prospers us. +

+

+Our languages and cognitive abilities expand as we learn new vocabularies and new values by talking to people and experiencing their relationships to nature that are unlike our own. Human language emerged within the Homo line because it was the only creature to embrace otherness as to actively explore for the sake of exploration; to seek encounters with otherness. As Homo erectus sailed to islands beyond the horizon it invented symbols and language to cope with the greater need for communal efforts to expand experiences. Language change is an indication of cultural change (and cultural change will change language). Together, they amplify our species ability to innovate and survive. All that we are is the result of our human embrace of the other, the love of alterity that makes us distinct from all other creatures. Alterity is one of our greatest fears. And yet it should be our greatest treasure. +

+ + + diff --git a/OTHERNESS/index_nouns.md b/OTHERNESS/index_nouns.md new file mode 100644 index 0000000..3e92bef --- /dev/null +++ b/OTHERNESS/index_nouns.md @@ -0,0 +1,88 @@ +Otherness - Wor(l)ds +          For The Future.
See
+ Islands You, the Others or go to the original Text +

Otherness is
"Everything, beyond me."
+"Everything, including me."

+The nouns, stripped of all context, are just nouns. Otherness presumes at least two terms of comparison. What defines the identity of you and others; of all things, both tangible and intangible, are the correlations between these things themselves. Meanwhile, the ensemble of all these connections continues regenerating the reality in which we live.

+Based on these assumptions, our world is shaped by complex patterns of associations between all the things we encounter day-by-day through life experience, which are dependently inter-connected: nature, people, culture, language and knowledge. Holding the Otherness becomes the only possibility to re-imagine a well-balanced future, that would include space both for individual perspective and small-fragmented realities, which, in turn, could be eventually preserved from a ferocious innovation.
+ +Otherness by Jacopo Lega + +When I was 26, I moved to the Amazon, from California, in order to study the language and culture of a people that were believed to be unrelated to any otherpeople. I flew in a small missionary plane , a bumpy nausea-inducingride, to meet the Pirahãpeople for the first time. My body was weak; my brain was taut with anxiety and anticipation. The Pirahãs are unrelated to any other. They speak a language that many linguists had unsuccessfully attempted to understand. My task would be to understand where little understanding currently existed. This encounter with these ‘others’ so unlike myself, was to be the defining experience for the rest of my life. + +Acampamento Pirahã, próximo a Transamazônica. Rio Maici. Foto: Ezequias Hering, 1981 + +One of the greatest challenges of our species is alterity,‘otherness.’ All cultures for reasons easy enough to understand fear other cultures. War and conflict have defined humans for nearly two million years. When we encounter others unlike ourselves, we frequently become uncomfortable, suspicious. A new neighbor from another country. A friend of ourchild who has a different color. Someone whose gender is not a simple binary classification. This is an old problem. Jesus himself fell under suspicion for befriending a woman thought to be a prostitute, Mary Magdalene. She was unlike the religious people of Jesus's day. An ‘other.’ + +Those unlikeourselves may eat different food, be unintelligible to us when speaking to those more like themselves, build different-looking homes, or, in the view of some who most fears otherness, simply live ‘wrongly.’ To some, others are not only suspect, but their differences are morally unacceptable. When I first entered the Amazon as a missionary, this was my belief. Everyone needed Jesus and if they didn't believe in him, they were deservedly going to eternal torment. In my encounter with the Pirahãs, though I was uneasy, I realize now, ironically, that I was actually the dangerous one, the one who came with insufficient respect, with an ego-centric and ethno-centric view of my own ‘rightness.’ How fortunate for me that this gentle people disabused me of so many of my silly beliefs. Though this years-long encounter with the Pirahãs was to improve my life globally, it certainly didn't seem that way at first. + +During my first day among the Pirahãs I was taken by a youngman to a fire by hishut. He pointed at a large rodent on the fire with its tongue still hanging out and a small pool of blood at the edge of the fire. The hair was burning off of the fresh kill. The young man uttered a then-unintelligible phrase: Gí obáaʔáí kohoáipi gíisai? Later I learned that this meant, "Do you know how to eat this?" And I also learned that if you don't want any offered food, you can simply say, "No, I don't know how to eat it." No one loses face. It is an easy, polite structure that allows you to avoid foods you don't want. Many other cultures, Western cultures for example, don't tend to be this polite. We often simply offer people things to eat and get offended if they refuse. Unlike among the Pirahãs, there is a more portent pressure in some Western cultures for a guest to eat whatever the host offers.

+ +

For almost all of us, we experience the world first through our mother. All that we touch, taste, hear, smell, see, and eventually come to know and understand begins with her and is mediated by her. As we develop of course we notice others close to our mother - our father, siblings, and others. But until our first experiences as individuals begin outside the home, our values, language, and ways of thinking all result from interactions with our mother and the select small group she is part of. These early apperceptions shape our subsequent lives. They lead not only to an individual sense of identity but also to a conception of what a ‘normal identity’ is. This is all very comfortable. We learn early on that new behavior and new information entail effort. Why listen to dissonant jazz when the steady 4/4 beat of country or rock is familiar? Why eat haggis instead of pot roast? Comfort food is just food that requires no gaining of acquired tastes. Why learn another language? Why make friends of a different color, a different sexual orientation, or a different nationality? Why should a professor make friends with a cowboy? These efforts go against the biological preference for expending as little energy as possible and maintenance of the status quo. The work of learning about otherness is worthwhile, but this is not always obvious initially. + +Adult Pirahãs drawing of a cat. + +Linguists recognized long ago that the first rule of language is that ‘we talk like who we talk with’. And other behavioral scientists have realized that ‘we eat like who we eat with’, ‘we create like who we think with’, and ‘we think like who we think with’. Our earliest associations teach us not only how to think, create, talk, and eat, but to evaluate normal or correct thinking, talking, eating, and creating based on our narrow range of experiences. The crucial differences between others and our in-group are values, language, social roles, and knowledge structures. All else emerges from these, or so I have claimed in my own writings. [^1] Each builds on the others as we learn them in the context of familiarity, a society of intimates (i.e. our family or our village. This leads to a conceptualization of our own identity. For example, I know in some way that I am Dan. Yet no one, not even ourselves, fully understands what it means to be ourselves. The construction of our identity through the familiar leads us to think of what is not us, not our family, not our norm. Inevitably, as our experience expands we meet others that do not fit neatly into our expectations. These are ‘the others.’ + +

In 1990, Columbia University psychologist Peter Gordon accompanied me to several Pirahã villages in order to conduct a pilot study of language learning among Pirahã children. We set up cameras on a hut, in full view, with the permission of its occupants, and started filming. We both were in the film, talking to the adults about their beliefs and children's behavior. After we were done filming, we noticed something that we had not seen before, because it was happening behind us. A toddler, perhaps a year and half old, was playing with a sharp kitchen knife with a 30cm blade. He was swinging it nonchalantly, almost stabbing himself in his face, legs, and midsection; occasionally swinging it close to his mother's face and back. We initially assumed that the mother didn't see her toddler's dangerous toy. But then, as she was talking to another woman, the camera recorded the baby dropping the knife and starting to cry. Barely glancing backwards at her child, the mother casually leaned over, picked the knife up off the ground and handed it back to the baby, who returned gleefully to his quasi-stabbing of himself. This was a confrontation of values for Peter and myself, underscoring the otherness divide between the Pirahãs and us. Wasn't the Pirahã mother concerned about her child's welfare? She was indeed. But to the Pirahãs a cut or non-life-threatening injury is the price that occasionally must be paid in order to learn the skills necessary to survive in the jungle Would a Dutch mother give her child a sharp knife as a toy, believing that any piercing of the child's flesh would be compensated for by its contribution to the child's development? Could she even respect this other (m)otherness - the otherness at the root of our lives?

+ +

When I first encountered the Pirahãs, I learned the language by pointing and giving the name in English. I would pick up a stick and say, "stick." The Pirahãs, most of them anyway, would give me the translation in their language. Then I might let the stick drop to the ground and say, "the stick falls to the ground" or, "I throw the stick away" or, "two sticks drop to the ground," and so on. I would transcribe the responses and say them back at least three times to the speaker, making sure I had them right. I was able to follow their translations and also write down their comments. But the occasional speaker would ignore my request and instead say something that turned out to be even more interesting. Ɂaooí Ɂaohoaí sahaɁaí ɁapaitíisoɁabaɁáígio hiahoaáti, which means: "Do not talk with a crooked head. Talk with a straight head." The Pirahãs wanted me to talk like a person, not like a bizarre foreigner. Like an American tourist in France, the Pirahãs could not understand why I couldn't speak their language. Then one day a missionary plane had brought us some supplies in the jungle. Among those was lettuce. I was so excited to have greens. The Pirahãs eat no greens and think of them as worm food. I was cheerfully eating lettuce from a bowl when a Pirahã friend walked up and said, "That's why you don't speak Pirahã yet. We don't eat leaves."

+ +Daniel Everett's first annotations on Pirahãs spoken language, July 1995 + +

In other words, the Pirahã man believed that language emerges from culture as well as the entirety of our behavior as members of a society. This is a belief I have come to as well. They felt we could not learn their language at native level unless we became also part of their culture; and native level is what matters to them, there are no prizes for merely speaking their language intelligibly. This was against everything I had been taught about language in university courses, and it underscored the gap between them and me. Languages and cultures interact symbiotically, each affecting the other. Our sense of self and of society emerges from our enveloping culture and from the language and accents we hear most during our childhood development. The speed of our conversations and the structures of our interactions with others are formed in local communities of people like ourselves. The most comfortable conversations are with people who sound like you, put their phrases together as you do, and who reach similar conclusions.

+ +Originally published on Van Winkle's (October 2015)
+
+The phrase “good night” is ingrained in our cultural lexicon. These two words start out playing an essential role in early childhood by way of soothing and rhythmic classics such as Goodnight Moon and Good Night, Gorilla. They are often the last words we hear our parents whisper to us before we fall asleep.
+
+Among adults, they’re taken for granted as a universal social signifier — a way to wish our friends and family a restful sleep, or a pleasantry upon our departure from a social evening out, no matter where in the world we are.
+
+But in some cultures, no such words are spoken.
+
+Where? And why?
+In the language of one remote Amazonian tribe called the Pirahã (pronounced pee-da-HAN), there are no words for “good night.” This anomaly was first noted by linguistics professor Daniel Everett in his fascinating book, Don’t Sleep, There Are Snakes. In fact, the title itself echoes the words used by tribe members before they settle down for sleep. As Everett describes it:
+
+The Pirahãs say different things when they leave my hut at night on their way to bed. Sometimes they just say, “I’m going.” But frequently they use an expression… ”Don’t sleep, there are snakes.” The Pirahãs say this for two reasons. First they believe that by sleeping less they can “harden themselves,” a value they all share. Second, they know that danger is all around them in the jungle and that sleeping soundly can leave them defenseless.
+
+Everett has since referenced a common feature of most languages worldwide, called phatic communication — words used to create sociability and good will. For instance, we say, Hello, how are you? to express our connection and recognition that we’re in a setting in which others exist and are a part of our lives. These phrases serve as pleasantries. The person saying How are you? doesn’t actually want a laundry list of your illnesses or ailments.
+
+“The Pirahã lacks such expressions by and large,” Everett explains, though clearly “Don’t sleep, there are snakes,” while used half literally, is also being spoken half phatically. 
+
+Are their sleeping habits any different?
+                                                
+Indeed, their sleep pattern is unlike that in the modernized world. It’s common for tribe members to sleep for just an hour or two and then go about their activities, sleeping again when they get tired.
+
+“During the night it is rare, though not unheard of, for the entire village to be silent,” Everett says. “Usually, there will be some sleeping and some playing, some talking, some laughing all night long. There simply are no culturally defined sleep periods among the Pirahã.”
+
+Which could explain why it wouldn’t make sense to wish someone a good night if he or she were only lying down for a brief rest.
+
+Are there any other cultures that dispense with these niceties?
+According to Everett, another isolated Amazon tribe, the Banawa, as well as a handful of others, don’t have the equivalent words for “good night” in their language. And while it may be convenient to assume a lack of civilized sensibility, Everett says this isn’t the case. It’s just not important to them to say such things.
+
+The Pirahã language is different in several other ways as well. “They have no numbers, no fixed color terms, no perfect tense, no words for all, each, every, most or few — terms of quantification believed by some linguists to be among the common building blocks of human cognition.”
+
+Everett told The New Yorker, “I think one of the reasons that we haven’t found other groups like this is because we’ve been told, basically, that it’s not possible.”
+
+To us, “good night” is the only natural thing to say at day’s end, but different cultures and worldviews may require other words. In the case of the Pirahã, they’ve adopted more cautionary pleasantries.                                                
+Source: https://onlinelibrary.wiley.com/doi/full/10.1111/j.1551-6709.2011.01209.x + + +

There are many ways in which we confront otherness. Strangers are not always people. Nature is often a foreigner to most of us and we can learn by submitting ourselves to it. One reason that I annually read the American Henry David Thoreau's Walden, my favorite book in all of American literature, is that Thoreau was so articulately different from me. That is irrelevant to Thoreau's account of his year alone. His year was a brilliant experiment. Thoreau did not remain at Walden. He returned to take up a fairly boring life as a handyman in the adjacent city of Concord, Massachusetts. Yet, the book he wrote is full brilliant observations based on the concepts of American Transcendentalism: the idea that people and nature are inherently good and that they are best when left alone by society and its institutions. Transcendentalism implies that as we come to know ourselves and remove the otherness of nature by experiencing it with all our senses. That our sense of oneness with others, as embodied in that very nature, grows. Thoreau's insights into his lessons from nature – as the stranger - teach us about what it means to live as a human, to be independent, and to occupy a part of the natural world. Through Thoreau we encounter the strangeness of a solitary life in nature. Oneness with ourselves and nature – and the others that are strange to us but are, like us, just part of nature – requires slow work of contemplation and experience that at once embraces the otherness of nature. It demands working towards removing this sense of otherness and embracing it as part of the oneness that we seek with the world around us.

+ +

Otherness, as I see it, is the spark of original thought and greater appreciation of nature, while the sense of oneness is the paradoxical goal of encounters with otherness. We need a sense of oneness of ourselves with nature to clearly see otherness, and we need otherness to build a more encompassing and panoramic sense of self and oneness with the world. Thoreau ignored society to know himself. Most of us ignore ourselves to be part of society. Thoreau eloquently expressed the loss that, being carried away by the demands of others and society, brings us to our sense of self. We think of conformity rather than our own unique identity and so blur who we are as individuals. Thoreau captured this well when he exclaimed that, "the one is more important than the million." That is, it is only as we each individually appreciate our oneness with the world, nature, and the other as part of this oneness that we can achieve the best individual life, and thus society.

+ +Recording of a conversation between Pirahãs and Daniel Everett. + +

Thoreau’s hut Walden stands still as light in the heart of the forest, a small cabin where one can sit and think and read and wonder about the reasons for living. Jungle nights were this light in my life, as I sat around campfires, talking in a language that was so hard for me to learn. Albert Camus said that the biggest mystery of philosophy is why not everyone commits suicide when honestly contemplating the futility of life. As a possible answer to his own question, Camus in his essay The Myth of Sisyphus, held up poor Sisyphus [^2] as an example of a good life. Sisyphus, after all, had an objective, one that entailed a measurable daily activity that always ended in the accomplishment of getting that rock up the hill. But Thoreau perspective rejects Camus's analysis. He saw no reason to count familiarity or predictability of social life, foods, or accomplishments as among the goals of life. They teach us little and change our behavior insignificantly. His example was that we learn most when we insert ourselves as aliens in new conceptual, cultural, and social environments (in his case, the absence of society). I am convinced that our lives become richer when they are less predictable. This is not to say that our lives are always predictable in the absence of the other. Otherness renders our expectations less fixed and requires more thinking, planning, and learning.

+ +

The Pirahãs would disagree. They believe that it is homogeneity that gives us comfort and keeps us strong physically and psychologically. Otherness vs. predictability, which is more desirable? In essence, we need both even if we’d construct a greater sense of oneness that embraces the unexpected. The two greatest forces of preserving and constructing cultures are imitation and innovation. When our environments, culturally and physically, are constant, innovation is rarely useful. Like biological mutations, cognitive and cultural innovations are usually unsuccessful. The effort to invent will usually isolate us as strange and less successful than those who merely imitate. Failed innovation in a society that most values imitation emphasizes our own ‘otherness’ and provides us with little advantage. As environments change – such as the ecology of the Pleistocene that so shaped our Homo ancestors, climate change today, the shifting political boundaries, or the intrusion of others into our environmentinnovation becomes a more important force, providing new solutions to new problems that imitation alone is unable to provide. The Pirahãs live in an environment that has changed little over the centuries. They value conformity and imitation over innovation. Consequently their language has changed little over time. Records of their culture and language from the 18th century show a people identical to the people we encounter today, three centuries later.

+ +Members of the Pirahã tribe use a “one-two-many” system of counting. I ask whether speakers of this innumerate language can appreciate larger numerosities without the benefit of words to encode them. This addresses the classic Whorfian question about whether language can determine thought. Results of numerical tasks with varying cognitive demands show that numerical cognition is clearly affected by the lack of a counting system in the language. Performance with quantities greater than three was remarkably poor, but showed a constant coefficient of variation, which is suggestive of an analog estimation process.
+
+Results of number tasks with Pirahã villagers (n 0 7). Rectangles indicate AA batteries (5.0 cm by 1.4 cm), and circles indicate ground nuts. Center line indicates a stick between the author's example array (below the line) and the participant's attempt to ''make it the same'' (above the line). Tasks A through D required the participant to match the lower array presented by the author using a line of batteries; task E was similar, but involved the unfamiliar task of copying lines drawn on paper; task F was a matching task where the participant saw the numerical display for only about 1 s before it was hidden behind a screen; task G involved putting nuts into a can and withdrawing them one by one; (participants responded after each withdrawal as to whether the can still contained nuts or was empty); task H involved placing candy inside a box with a number of fish drawn on the lid (this was then hidden and brought out again with another box with one more or one less fish on the lid, and participants had to choose which box contained the candy). + +

In environments that, especially culturally, change at light speed we need to learn to think, speak, act differently, and innovate in multiple areas simultaneously as the changes we encounter transform our familiar environment into ‘an other’. Every day brings problems that we never faced before. Diversity of experiences and encounters with others inspire new ways of thinking and new forms of living. If we all look the same, talk the same, value the same things, paint the same pictures, dance the same dances, and hear the same music then we are simply imitators falling behind the challenges of our world. This applies to all of us whether we are hunter-gatherers in the Amazon or advertising agents in New York City. It blinds us to new forms of beauty. What we see around us, with the rise of anti-immigration political movements in Europe and the USA is, at least partially, a fear of otherness. Our preference is for conformity and imitation; our fear then itself arises from that preference in contrast to otherness and the greater steps towards an ever more encompassing oneness of the type that motivated Thoreau. However, the ultimate engine of innovation is otherness – of people, food, environments, art, and culture – it strengthens us and prospers us.

+ +

Our languages and cognitive abilities expand as we learn new vocabularies and new values by talking to people and experiencing their relationships to nature that are unlike our own. Human language emerged within the Homo line because it was the only creature to embrace otherness as to actively explore for the sake of exploration; to seek encounters with otherness. As Homo erectus sailed to islands beyond the horizon it invented symbols and language to cope with the greater need for communal efforts to expand experiences. Language change is an indication of cultural change (and cultural change will change language). Together, they amplify our species ability to innovate and survive. All that we are is the result of our human embrace of the other, the love of alterity that makes us distinct from all other creatures. Alterity is one of our greatest fears. And yet it should be our greatest treasure.

+ \ No newline at end of file diff --git a/OTHERNESS/nouns.html b/OTHERNESS/nouns.html new file mode 100644 index 0000000..eb13cb8 --- /dev/null +++ b/OTHERNESS/nouns.html @@ -0,0 +1,10 @@ + + + + + + + + +When I was 26 , I moved to the Amazon , from California , in order to study the language and culture of a people that were believed to be unrelated to any other people . I flew in a small missionary plane , a bumpy nausea-inducing ride , to meet the Pirahã people for the first time . My body was weak ; my brain was taut with anxiety and anticipation . The Pirahãs are unrelated to any other . They speak a language that many linguists had unsuccessfully attempted to understand . My task would be to understand where little understanding currently existed . This encounter with these others , so unlike myself , was to be the defining experience for the rest of my life . One of the greatest challenges of our species is alterity , otherness. All cultures for reasons easy enough to understand fear other cultures . War and conflict have defined humans for nearly two million years . When we encounter others unlike ourselves , we frequently become uncomfortable , suspicious . A new neighbor from another country . A friend of our child who has a different color . Someone whose gender is not a simple binary classification . This is an old problem . Jesus himself fell under suspicion for befriending a woman thought to be a prostitute , Mary Magdalene . She was unlike the religious people of Jesus 's day . An other. Those unlike ourselves may eat different food , be unintelligible to us when speaking to those more like themselves , build different-looking homes , or , in the view of some who most fears otherness , simply live wrongly. To some , others are not only suspect , but their differences are morally unacceptable . When I first entered the Amazon as a missionary , this was my belief . Everyone needed Jesus and if they did n't believe in him , they were deservedly going to eternal torment . In my encounter with the Pirahãs , though I was uneasy , I realize now , ironically , that I was actually the dangerous one , the one who came with insufficient respect , with an ego-centric and ethno-centric view of my own rightness. How fortunate for me that this gentle people disabused me of so many of my silly beliefs . Though this years-long encounter with the Pirahãs was to improve my life globally , it certainly did n't seem that way at first . During my first day among the Pirahãs I was taken by a young man to a fire by his hut . He pointed at a large rodent on the fire with its tongue still hanging out and a small pool of blood at the edge of the fire . The hair was burning off of the fresh kill . The young man uttered a then-unintelligible phrase : obáaʔáí kohoáipi gíisai ? Later I learned that this meant , `` Do you know how to eat this ? '' And I also learned that if you do n't want any offered food , you can simply say , `` No , I do n't know how to eat it . '' No one loses face . It is an easy , polite structure that allows you to avoid foods you do n't want . Many other cultures , Western cultures for example , do n't tend to be this polite . We often simply offer people things to eat and get offended if they refuse . Unlike among the Pirahãs , there is a more portent pressure in some Western cultures for a guest to eat whatever the host offers . For almost all of us , we experience the world first through our mother . All that we touch , taste , hear , smell , see , and eventually come to know and understand begins with her and is mediated by her . As we develop of course we notice others close to our mother - our father , siblings , and others . But until our first experiences as individuals begin outside the home , our values , language , and ways of thinking all result from interactions with our mother and the select small group she is part of . These early apperceptions shape our subsequent lives . They lead not only to an individual sense of identity but also to a conception of what a normal identity is . This is all very comfortable . We learn early on that new behavior and new information entail effort . Why listen to dissonant jazz when the steady 4/4 beat of country or rock is familiar ? Why eat haggis instead of pot roast ? Comfort food is just food that requires no gaining of acquired tastes . Why learn another language ? Why make friends of a different color , a different sexual orientation , or a different nationality ? Why should a professor make friends with a cowboy ? These efforts go against the biological preference for expending as little energy as possible and maintenance of the status quo . The work of learning about otherness is worthwhile , but this is not always obvious initially . Linguists recognized long ago that the first rule of language is that we talk like who we talk with . And other behavioral scientists have realized that we eat like who we eat with , we create like who we think with , and we think like who we think with . Our earliest associations teach us not only how to think , create , talk , and eat , but to evaluate normal or correct thinking , talking , eating , and creating based on our narrow range of experiences . The crucial differences between others and our in-group are values , language , social roles , and knowledge structures . All else emerges from these , or so I have claimed in my own writings . Each builds on the others as we learn them in the context of familiarity , a society of intimates ( i.e . our family or our village ) . This leads to a conceptualization of our own identity . For example , I know in some way that I am Dan . Yet no one , not even ourselves , fully understands what it means to be ourselves . The construction of our identity through the familiar leads us to think of what is not us , not our family , not our norm . Inevitably , as our experience expands we meet others that do not fit neatly into our expectations . These are the others. In 1990 , Columbia University psychologist Peter Gordon accompanied me to several Pirahã villages in order to conduct a pilot study of language learning among Pirahã children . We set up cameras on a hut , in full view , with the permission of its occupants , and started filming . We both were in the film , talking to the adults about their beliefs and children 's behavior . After we were done filming , we noticed something that we had not seen before , because it was happening behind us . A toddler , perhaps a year and half old , was playing with a sharp kitchen knife with a 30cm blade . He was swinging it nonchalantly , almost stabbing himself in his face , legs , and midsection ; occasionally swinging it close to his mother 's face and back . We initially assumed that the mother did n't see her toddler 's dangerous toy . But then , as she was talking to another woman , the camera recorded the baby dropping the knife and starting to cry . Barely glancing backwards at her child , the mother casually leaned over , picked the knife up off the ground and handed it back to the baby , who returned gleefully to his quasi-stabbing of himself . This was a confrontation of values for Peter and myself , underscoring the otherness divide between the Pirahãs and us . Was n't the Pirahã mother concerned about her child 's welfare ? She was indeed . But to the Pirahãs a cut or non-life-threatening injury is the price that occasionally must be paid in order to learn the skills necessary to survive in the jungle . Would a Dutch mother give her child a sharp knife as a toy , believing that any piercing of the child 's flesh would be compensated for by its contribution to the child 's development ? Could she even respect this other ( m ) otherness - the otherness at the root of our lives ? When I first encountered the Pirahãs , I learned the language by pointing and giving the name in English . I would pick up a stick and say , `` stick . '' The Pirahãs , most of them anyway , would give me the translation in their language . Then I might let the stick drop to the ground and say , `` the stick falls to the ground '' or , `` I throw the stick away '' or , `` two sticks drop to the ground , '' and so on . I would transcribe the responses and say them back at least three times to the speaker , making sure I had them right . I was able to follow their translations and also write down their comments . But the occasional speaker would ignore my request and instead say something that turned out to be even more interesting . Ɂaooí Ɂaohoaí sahaɁaí ɁapaitíisoɁabaɁáígio hiahoaáti , which means : `` Do not talk with a crooked head . Talk with a straight head . '' The Pirahãs wanted me to talk like a person , not like a bizarre foreigner . Like an American tourist in France , the Pirahãs could not understand why I could n't speak their language . Then one day a missionary plane had brought us some supplies in the jungle . Among those was lettuce . I was so excited to have greens . The Pirahãs eat no greens and think of them as worm food . I was cheerfully eating lettuce from a bowl when a Pirahã friend walked up and said , `` That 's why you do n't speak Pirahã yet . We do n't eat leaves . '' In other words , the Pirahã man believed that language emerges from culture as well as the entirety of our behavior as members of a society . This is a belief I have come to as well . They felt we could not learn their language at native level unless we became also part of their culture ; and native level is what matters to them , there are no prizes for merely speaking their language intelligibly . This was against everything I had been taught about language in university courses , and it underscored the gap between them and me . Languages and cultures interact symbiotically , each affecting the other . Our sense of self and of society emerges from our enveloping culture and from the language and accents we hear most during our childhood development . The speed of our conversations and the structures of our interactions with others are formed in local communities of people like ourselves . The most comfortable conversations are with people who sound like you , put their phrases together as you do , and who reach similar conclusions . There are many ways in which we confront otherness . Strangers are not always people . Nature is often a foreigner to most of us and we can learn by submitting ourselves to it . One reason that I annually read the American Henry David Thoreau 's Walden , my favorite book in all of American literature , is that Thoreau was so articulately different from me . That is irrelevant to Thoreau 's account of his year alone . His year was a brilliant experiment . Thoreau did not remain at Walden . He returned to take up a fairly boring life as a handyman in the adjacent city of Concord , Massachusetts . Yet , the book he wrote is full brilliant observations based on the concepts of American Transcendentalism : the idea that people and nature are inherently good and that they are best when left alone by society and its institutions . Transcendentalism implies that as we come to know ourselves and remove the otherness of nature by experiencing it with all our senses . That our sense of oneness with others , as embodied in that very nature , grows . Thoreau 's insights into his lessons from nature as the stranger - teach us about what it means to live as a human , to be independent , and to occupy a part of the natural world . Through Thoreau we encounter the strangeness of a solitary life in nature . Oneness with ourselves and nature and the others that are strange to us but are , like us , just part of nature requires slow work of contemplation and experience that at once embraces the otherness of nature . It demands working towards removing this sense of otherness and embracing it as part of the oneness that we seek with the world around us . Otherness , as I see it , is the spark of original thought and greater appreciation of nature , while the sense of oneness is the paradoxical goal of encounters with otherness . We need a sense of oneness of ourselves with nature to clearly see otherness , and we need otherness to build a more encompassing and panoramic sense of self and oneness with the world . Thoreau ignored society to know himself . Most of us ignore ourselves to be part of society . Thoreau eloquently expressed the loss that , being carried away by the demands of others and society , brings us to our sense of self . We think of conformity rather than our own unique identity and so blur who we are as individuals . Thoreau captured this well when he exclaimed that , `` the one is more important than the million . '' That is , it is only as we each individually appreciate our oneness with the world , nature , and the other as part of this oneness that we can achieve the best individual life , and thus society . Thoreau s hut Walden stands still as light in the heart of the forest , a small cabin where one can sit and think and read and wonder about the reasons for living . Jungle nights were this light in my life , as I sat around campfires , talking in a language that was so hard for me to learn . Albert Camus said that the biggest mystery of philosophy is why not everyone commits suicide when honestly contemplating the futility of life . As a possible answer to his own question , Camus in his essay The Myth of Sisyphus , held up poor Sisyphus as an example of a good life . Sisyphus , after all , had an objective , one that entailed a measurable daily activity that always ended in the accomplishment of getting that rock up the hill . But Thoreau perspective rejects Camus 's analysis . He saw no reason to count familiarity or predictability of social life , foods , or accomplishments as among the goals of life . They teach us little and change our behavior insignificantly . His example was that we learn most when we insert ourselves as aliens in new conceptual , cultural , and social environments ( in his case , the absence of society ) . I am convinced that our lives become richer when they are less predictable . This is not to say that our lives are always predictable in the absence of the other . Otherness renders our expectations less fixed and requires more thinking , planning , and learning . The Pirahãs would disagree . They believe that it is homogeneity that gives us comfort and keeps us strong physically and psychologically . Otherness vs. predictability , which is more desirable ? In essence , we need both even if we d construct a greater sense of oneness that embraces the unexpected . The two greatest forces of preserving and constructing cultures are imitation and innovation . When our environments , culturally and physically , are constant , innovation is rarely useful . Like biological mutations , cognitive and cultural innovations are usually unsuccessful . The effort to invent will usually isolate us as strange and less successful than those who merely imitate . Failed innovation in a society that most values imitation emphasizes our own otherness and provides us with little advantage . As environments change such as the ecology of the Pleistocene that so shaped our Homo ancestors , climate change today , the shifting political boundaries , or the intrusion of others into our environment innovation becomes a more important force , providing new solutions to new problems that imitation alone is unable to provide . The Pirahãs live in an environment that has changed little over the centuries . They value conformity and imitation over innovation . Consequently their language has changed little over time . Records of their culture and language from the 18th century show a people identical to the people we encounter today , three centuries later . In environments that , especially culturally , change at light speed we need to learn to think , speak , act differently , and innovate in multiple areas simultaneously as the changes we encounter transform our familiar environment into an other . Every day brings problems that we never faced before . Diversity of experiences and encounters with others inspire new ways of thinking and new forms of living . If we all look the same , talk the same , value the same things , paint the same pictures , dance the same dances , and hear the same music then we are simply imitators falling behind the challenges of our world . This applies to all of us whether we are hunter-gatherers in the Amazon or advertising agents in New York City . It blinds us to new forms of beauty . What we see around us , with the rise of anti-immigration political movements in Europe and the USA is , at least partially , a fear of otherness . Our preference is for conformity and imitation ; our fear then itself arises from that preference in contrast to otherness and the greater steps towards an ever more encompassing oneness of the type that motivated Thoreau . However , the ultimate engine of innovation is otherness of people , food , environments , art , and culture it strengthens us and prospers us . Our languages and cognitive abilities expand as we learn new vocabularies and new values by talking to people and experiencing their relationships to nature that are unlike our own . Human language emerged within the Homo line because it was the only creature to embrace otherness as to actively explore for the sake of exploration ; to seek encounters with otherness . As Homo erectus sailed to islands beyond the horizon it invented symbols and language to cope with the greater need for communal efforts to expand experiences . Language change is an indication of cultural change ( and cultural change will change language ) . Together , they amplify our species ability to innovate and survive . All that we are is the result of our human embrace of the other , the love of alterity that makes us distinct from all other creatures . Alterity is one of our greatest fears . 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Sadness :(

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Practical Vision

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Jalada

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very ugly,sad,boring v0.0.1

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+A few weeks back someone told me that it is an exceptional achievement for a short story to be translated into a dozen languages .
+I had never really thought about it , as I am not drawn from a long tradition of scholarship in literary translations .
+I could not quantify his statement in any way .
+For me those words came across as a big compliment given the scope of the work done by the Jalada Collective in the past year in the area of translations and the use of digital facilities .
+Jalada is a pan-African collective of young African writers from all over the African continent , of which I am member as well as the managing editor .
+It began in 2013 during a workshop convened by renowned editor , Ellah Wakatama Allfrey .
+We had a lively conversation among the participants about what we as young African creatives drawn from different geographical locations could do with the resources we valued : language , knowledge and our web of connections .
+So Jalada was born .
+From wherever we were , we worked together online in what seemed like a virtual office .
+All you needed to do was post a message , and another member would take action .
+The Internet became an enabler of collaboration and a resource in the production process of a digital Jalada magazine .
+Our first thematic issue tackled the often-underexplored subject of mental health within the African context .
+Our second anthology focused on stories of fictionalized sexual experiences in ways that broke the implied modesty of our fictional boundaries .
+We also did an anthology on Afrofutures , a publication that allowed us , as Africans , to capture multiple and alternative ways of imagining futures .
+The Translation Issue Then , we embarked on a translation project in which we aimed to have one short story translated into as many languages as possible .
+Since March 2016 , when we first published the story [ i ] Ituĩka Rĩa Mũrũngarũ : Kana Kĩrĩa Gĩtũmaga Andũ Mathiĩ Marũngiĩ [ i ] [ 1 ] , the story has been translated into sixty-eight languages .
+The initiative has been critically lauded by several scholars as one of the most essential projects in fostering communication amongst readers and speakers of different languages across the globe .
+Under the umbrella of the powerful magic of storytelling , online publishing has enabled different languages and cultures to find expression and converse with each other .
+The Jalada website , where the story and its translations are published , acts as a kind of portal to a multiplicity of languages wherein you can find codified languages you may never have heard about .
+Because for us at Jalada we are keen on multiple narrative modes of textual and visual storytelling , the story continues to be available in podcasts and live multilingual dramatizations .
+We conceptualised the Jalada translations issue with a specific focus on African Languages .
+Each language remains a representation of a specific culture on the continent .
+Taken together , our continent is infinitely rich in its cultural resources .
+Over 2000 languages exist across the 54 nations .
+Imagine the monumental impact of a story in all these languages .
+It would be an immovable symbol .
+In history and in scholarship it would stand as a testament to the fact that all languages are equal : It does not matter the origins , the color , or the number of people who use any specific language , nor the standardisation of such a language or the lack thereof .
+The coming together of all those languages would smash any doubt that in our diversity immense beauty can be created with a great and lasting impact .
+Jalada Translations issue was born from the firm faith that one day , whether it is during my lifetime or in the generations to come , one such short story will exist in all African languages .
+I want to imagine that over the years the spill over effect of this will transform our attitudes towards the use of our mother tongues and the languages that we learn from our neighbours through our daily interactions .
+I want to imagine the impact it might have on the access that our children have to texts written in all manner of languages , especially the marginalised languages .
+We continually learn to reap from the resources that we have .
+One such irrefutable resource is the language of our mother tongues .
+The Illusion of Unifying Language Some of the distinctive African languages represented in the translations issue have suffered many years of non-representation in the written form .
+There are worrisome statistics of the number of books or articles that have been published in these languages .
+Yet , across many countries and regions within the continent , thousands , tens of thousands , or millions of people use these languages every day .
+They transact businesses , they pray , they love , and dream of love and life in these languages .
+And yet , so little is written in them .
+What is even more worrying is the fewer number of people who get access to these written resources .
+Most of the written material is in European languages English , French , and Portuguese as well as a few dominant African national languages .
+The illusion of unifying a nation through a single language is wide spread .
+This has meant a very deliberate marginalisation of African languages and the almost brutal emphasis on the spread and dominance of English or other European languages .
+Additionally , we feed on that illusion instilled in us by our education systems , which were designed by European colonialists to serve the empire and then continued as desirable norms by post-colonial governments .
+But there is a daily struggle from many quarters and initiatives to effect change in our school systems .
+Today , one does not need to go to a well-equipped library to see texts in other languages .
+You only need to log into social media , and you will see the flow of conversations in all manner of languages , albeit a little inconstant .
+We do not have to look at that with suspicion .
+We do not have to feel hate and resentment for the existence of the other or feel burdened by the colonial idea that this is divisive .
+Over the years , I have noted how many young Nairobians flood institutions to learn French and German .
+We marvel at the possibility of acquiring what is not necessarily ours .
+That in itself is a beautiful thing ; all knowledge is power .
+However , most of the individuals learning these languages will never go to France or Germany .
+They will use that resource they have attained amongst themselves in a very small circle , or for employment purpose such as to serve the occasional tourist or to work at one of the multinationals .
+Even worse , sometimes it is never put to use .
+It exists merely as a placeholder in a Curriculum vita or for prestige , such as when someone mentions that they have studied this or that European Language .
+In their minds they remain psychologically arrested in the desire and continually gravitate towards the European home of the new learned language .
+However , they will interact very occasionally with speakers of other African Languages .
+What if that beautiful desire to learn and appreciate a foreign language was also inherently directed towards other African Languages ? In failing to have enough systems that can facilitate this kind of interest and indulgence , the online publishing of stories in different languages , multilingual performances , and podcasts are a small but possibly vital contribution .
+Not just for readers that want to read other languages , but those who have grown up with very little exposure to written texts in their own mother tongue .
+Practical Vision Ngugi wa Thiongo has used the term practical vision to describe the fresh opportunities for disseminating African literature that the digital age makes possible .
+Practical vision is about activating dreams in the present ; it is about translating a vision that seems at far distance into a doing that brings you there .
+What we envision , is building a future of multilingual pride and connections that know no boundaries between writers , publishers , and readers .
+And because of our access to and connectivity with the Internet , we are able to move beyond mere conversations towards the execution of ideas .
+This however requires grit and a lot of help from all corners .
+If we had done the Translation Issue in the pre-internet age , it would have taken us decades and huge financial means to put it together .
+The web of translators grew because of my colleagues and interested participants who encouraged others to contribute to the bringing together of sixty-eight languages into one volume .
+The volume bears the hallmark of conversations between cultures , languages , and people of the world .
+Thanks to the generosity [ 2 ] and time invested by the writers and translators we were able to do this work efficiently in less than a year .
+Our ways of consuming information have changed radically since oral literature was shared around a bonfire in early evenings .
+As publisher we therefore try to understand the changing nature of communication and the resultant structures .
+We want to find ways to take full advantage of digital facilities as it is the reality of our generation and of those to come .
+We continue to experiment with many more ways to tap into these digital facilities to share stories in all manner of African Languages .
+The current question is how we can have a continued publication of translations that allow a conversation between the languages of Africa and those of the world .
+Can we create a digital publication that captures the infinite resources in our languages and cultures ? In order to meet this challenge , we decided to select one short story a year short enough to allow a relatively ease of work in terms of translation that was powerful enough to speak across multiple cultures .
+Our vision is to have each story translated into as many African Languages as possible .
+And one day , in the not so distant future , we will have an online archive of stories and translations in all manner of languages .
+Pursuit of such a vision is not easy .
+There is a great deal of misconception about African Languages and their places in our personal and communal intellectual discourse .
+In our contribution to improving the publication of , as well as encouraging readership of works in African languages we needed to lay a firm foundation .
+First , we recognise that there are voices that have come before us who have already done a great deal to fight for language rights .
+Our selection of a story by Ngũgi wa Thiong o was a recognition towards those who had taken responsibility for our languages .
+As practical visionaries , interested more in turning ideas into actions , we work with full acknowledgement of what has come before .
+We take into consideration the conversations that have been held on the subject , and bring these further by pursuing our translation work in ways that examine barriers of the past and find ways to overcome them now .
+Just as we have created and continue to create a database of literary translators , we want to establish a base of devoted readers .
+Earlier in the process , someone was quick to ask me , rather sceptically , what happens after we have published the translations and who will even be interested in reading them ? Once the first Translation Issue was published , the translators and our most devoted readers started sharing the work on Facebook , Twitter , and Blogs while expressing their excitement at seeing such a publication .
+People tweeted links and shared specific languages on their timelines .
+A twitter user in Ethiopia , @ LindaYohannes , tweeted , Reading Ngugi in # Amharic ! This feels so right ! Digital technologies helped us tap into greater and faster possibilities whereas the mere exhaustion of putting together the volume in print form would have been enough excuse for us to store the print copies in the warehouse for a month or two before venturing into marketing and distribution .
+The reality of such exhausting stretch of time in the production process was for a long while the reason why people kept stuck in conversation and never got into doing .
+Creating digital networks for translation The connection that is formed between the writer and publisher is quite important , but the connection formed with reader is also crucial .
+We know by now that there are people across the continent and in the diaspora who believe in the importance of marginalised languages .
+Perhaps in their love for the translated stories and the process of translation , they too will be inspired to write and translate .
+In practise , this collective effort will call for a continuous and growing engagement with multi-linguistic storytelling practices .
+Vigorous social media campaigns and the sharing of the work in all possible media will enhance such reciprocal relations .
+Also the collaboration with universities and other learning institutions , can create interest or integrate the idea of African languages in research and teaching practises .
+We find it especially important that children grow up with multi-lingual content and digital facilities will make access possible at a minimal cost .
+We believe that a generation of young people with a passion for their languages , whatever these languages may be , will be here to hold this vision together for a very long time .
+To grow that generation we must continue to encourage those among us with the intellectual facilities and various experiences to participate in projects such as the Jalada translations issue .
+New translators will get the space to experiment with their abilities .
+And those who have already made attempts in prior translation issues will have the opportunity to continue in a supportive environment that allows their talents to grow .
+An important step in executing such a practical approach in the area of translations is to keep a good connection between different players : the writers who are interested in different languages , the translators who value the great power in the stories , and the various publishers who have demonstrated their willingness to disseminate these works further and further .
+This would not be possible without the connections and collaborative processes we have put in place .
+At the heart of our practical vision lies a growing network of connections , without which ideas would remain mere ideas .
+Adapting the structure of digital media as a web of connections onto our way of working allows for the perseverance and sharing of our valued resources : languages and the knowledge they carry .
+The Future is Multi-lingual However , despite the crucial importance of digital platforms we have seen that the work can grow into more than digitally published pieces once they have reached a widespread audience .
+From its digital space , Ngũgi wa Thiong o s story has been adapted for the stage on several occasions .
+Each dramatization celebrated the power of cultural diversity in imagining better worlds .
+Secondly , the story has also gone into print .
+In Sweden , as a children book ; for the occasion of the Mboka Festival of Arts Culture and Sport in three Gambian Languages ( Wolof , Mandika , and Fula ) ; and publishers across Spain will print editions in Spanish , Catalan , Galician , Basque , Bable , and Occitan .
+From digital to stage , to print and then back into the digital realm : In India , a print publication of a translation in Kannada , a Dravidian language , was later republished in an Indian online magazine that reached a few million readers .
+In the USA , the story was nominated for a project that aims to make short digital eBooks available on the subway for a year .
+There are more than six thousand nine hundred more languages across the world , and so the story travels .
+In the future , we hope to see the translators that we work with move on to bigger challenges .
+For them to take up translation of fictional and non-fiction books .
+While shorter works can be read much more easily online , actual books may require print publication , and in this sense , the digital and the analogue co-exist in mutual advantage .
+Over the course of ten years we envision having ongoing translations of about ten different stories .
+With each story translated into a hundred or more languages , we will have made it a normal practise to write and translate into and between African Languages .
+With this practice comes the idea of conversation between the languages as they appear alongside each other .
+The beauty is in the use of any known language anywhere in the world with confidence and the faith in the good of what is your own , and respecting the faith and confidence of the other in using and celebrating what is theirs .
+And this is the future : a place for practical visionaries .
+A time of multilingual pride and connections that know no boundaries between writers , publishers , and readers .
+When we act out our ideas , the future will smash the difficulty of access through digital technologies ; the exclusion of languages through translations ; and the limitations of opportunities through the growth of collective work .
+We will wake up one day soon and feel the light of possibility shine upon our faces .
+And because the Upright Revolution of digital innovation is inevitable , the publisher , the writer , the translator and the reader who wants the works to survive and remain relevant must find ways of taking advantage of the digital technologies at their disposal .
+[ footnotes ] 1 .
+Translated into English by the author , Prof.
+Ngũgi wa Thiong o , as [ i ] The Upright Revolution : Or Why Humans Walk Upright [ i ] 2 .
+To be a part of the Translation Issue as a translator is to put yourself in the company of other translators making history .
+We publish each translation on a single page .
+The language , name , and biography of the translators are the credits listed .
+We do not discriminate , nor require any advanced experience in literary translation .
+The only requirement is the desire to produce authentic and verifiable translations that can communicate a story in one s own language .
+And while we do not compensate financially for now , we are looking into possibilities of funding and developing a financial model that would allow the sustainability of the work .
+As we engage more and more translators , the network grows , and opportunities are easily spread across the team for the benefit of diligent translators .
+
+ diff --git a/PRACTICAL_VISION/_old/index.old.html b/PRACTICAL_VISION/_old/index.old.html new file mode 100644 index 0000000..fb1cbdf --- /dev/null +++ b/PRACTICAL_VISION/_old/index.old.html @@ -0,0 +1,88 @@ + + + + Practical Vision + + + +
+

Practical Vision

+

Jalanda

+
+ + + + +

+A few weeks back someone told me that it is an exceptional achievement for a short story to be translated into a dozen languages. I had never really thought about it, as I am not drawn from a long tradition of scholarship in literary translations. I could not quantify his statement in any way. For me those words came across as a big compliment given the scope of the work done by the Jalada Collective in the past year in the area of translations and the use of digital facilities. +

+

+Jalada is a pan-African collective of young African writers from all over the African continent, of which I am member as well as the managing editor. It began in 2013 during a workshop convened by renowned editor, Ellah Wakatama Allfrey. We had a lively conversation among the participants about what we as young African creatives drawn from different geographical locations could do with the resources we valued: language, knowledge and our web of connections. So Jalada was born. From wherever we were, we worked together online in what seemed like a virtual office. All you needed to do was post a message, and another member would take action. The Internet became an enabler of collaboration and a resource in the production process of a digital Jalada magazine. Our first thematic issue tackled the often-underexplored subject of mental health within the African context. Our second anthology focused on stories of fictionalized sexual experiences in ways that broke the implied modesty of our fictional boundaries. We also did an anthology on Afrofutures, a publication that allowed us, as Africans, to capture multiple and alternative ways of imagining futures. +

+ +

The Translation Issue

+

+Then, we embarked on a translation project in which we aimed to have one short story translated into as many languages as possible. Since March 2016, when we first published the story Ituĩka Rĩa Mũrũngarũ: Kana Kĩrĩa Gĩtũmaga Andũ Mathiĩ Marũngiĩ 1], the story has been translated into sixty-eight languages. The initiative has been critically lauded by several scholars as one of the most essential projects in fostering communication amongst readers and speakers of different languages across the globe. Under the umbrella of the powerful magic of storytelling, online publishing has enabled different languages and cultures to find expression and converse with each other. The Jalada website, where the story and its translations are published, acts as a kind of portal to a multiplicity of languages wherein you can find codified languages you may never have heard about. Because for us at Jalada we are keen on multiple narrative modes of textual and visual storytelling, the story continues to be available in podcasts and live multilingual dramatizations.

+ +

+We conceptualised the Jalada translations issue with a specific focus on African Languages. Each language remains a representation of a specific culture on the continent. Taken together, our continent is infinitely rich in its cultural resources. Over 2000 languages exist across the 54 nations. Imagine the monumental impact of a story in all these languages. It would be an immovable symbol. In history and in scholarship it would stand as a testament to the fact that all languages are equal: It does not matter the origins, the color, or the number of people who use any specific language, nor the standardisation of such a language or the lack thereof. The coming together of all those languages would smash any doubt that in our diversity immense beauty can be created with a great and lasting impact.

+

+Jalada Translations issue was born from the firm faith that one day, whether it is during my lifetime or in the generations to come, one such short story will exist in all African languages. I want to imagine that over the years the spill over effect of this will transform our attitudes towards the use of our mother tongues and the languages that we learn from our neighbours through our daily interactions. I want to imagine the impact it might have on the access that our children have to texts written in all manner of languages, especially the marginalised languages. We continually learn to reap from the resources that we have. One such irrefutable resource is the language of our mother tongues. +

+

The Illusion of Unifying Language

+

+Some of the distinctive African languages represented in the translations issue have suffered many years of non-representation in the written form. There are worrisome statistics of the number of books or articles that have been published in these languages. Yet, across many countries and regions within the continent, thousands, tens of thousands, or millions of people use these languages every day. They transact businesses, they pray, they love, and dream of love and life in these languages. And yet, so little is written in them. What is even more worrying is the fewer number of people who get access to these written resources. Most of the written material is in European languages – English, French, and Portuguese – as well as a few dominant African national languages. +

+

+The illusion of unifying a nation through a single language is wide spread. This has meant a very deliberate marginalisation of African languages and the almost brutal emphasis on the spread and dominance of English or other European languages. Additionally, we feed on that illusion instilled in us by our education systems, which were designed by European colonialists to serve the empire and then continued as desirable norms by post-colonial governments. But there is a daily struggle from many quarters and initiatives to effect change in our school systems. +

+

+Today, one does not need to go to a well-equipped library to see texts in other languages. You only need to log into social media, and you will see the flow of conversations in all manner of languages, albeit a little inconstant. We do not have to look at that with suspicion. We do not have to feel hate and resentment for the existence of the other or feel burdened by the colonial idea that this is divisive. Over the years, I have noted how many young Nairobians flood institutions to learn French and German. We marvel at the possibility of acquiring what is not necessarily ours. That in itself is a beautiful thing; all knowledge is power. However, most of the individuals learning these languages will never go to France or Germany. They will use that resource they have attained amongst themselves in a very small circle, or for employment purpose such as to serve the occasional tourist or to work at one of the multinationals. Even worse, sometimes it is never put to use. It exists merely as a placeholder in a Curriculum vita or for prestige, such as when someone mentions that they have studied this or that European Language. In their minds they remain psychologically arrested in the desire and continually gravitate towards the European home of the new learned language. However, they will interact very occasionally with speakers of other African Languages. What if that beautiful desire to learn and appreciate a foreign language was also inherently directed towards other African Languages? In failing to have enough systems that can facilitate this kind of interest and indulgence, the online publishing of stories in different languages, multilingual performances, and podcasts are a small but possibly vital contribution. Not just for readers that want to read other languages, but those who have grown up with very little exposure to written texts in their own mother tongue. +

+ +

Practical Vision

+

Ngugi wa Thiongo has used the term “practical vision” to describe the fresh opportunities for disseminating African literature that the digital age makes possible. Practical vision is about activating dreams in the present; it is about translating a vision that seems at far distance into a doing that brings you there. What we envision, is building a future of multilingual pride and connections that know no boundaries between writers, publishers, and readers. And because of our access to and connectivity with the Internet, we are able to move beyond mere conversations towards the execution of ideas. This however requires grit and a lot of help from all corners. +If we had done the Translation Issue in the pre-internet age, it would have taken us decades and huge financial means to put it together. The web of translators grew because of my colleagues and interested participants who encouraged others to contribute to the bringing together of sixty-eight languages into one volume. The volume bears the hallmark of conversations between cultures, languages, and people of the world. Thanks to the generosity[2] and time invested by the writers and translators we were able to do this work efficiently in less than a year. Our ways of consuming information have changed radically since oral literature was shared around a bonfire in early evenings. As publisher we therefore try to understand the changing nature of communication and the resultant structures. We want to find ways to take full advantage of digital facilities as it is the reality of our generation and of those to come. +

+

+We continue to experiment with many more ways to tap into these digital facilities to share stories in all manner of African Languages. The current question is how we can have a continued publication of translations that allow a conversation between the languages of Africa and those of the world. Can we create a digital publication that captures the infinite resources in our languages and cultures? In order to meet this challenge, we decided to select one short story a year – short enough to allow a relatively ease of work in terms of translation – that was powerful enough to speak across multiple cultures. Our vision is to have each story translated into as many African Languages as possible. And one day, in the not so distant future, we will have an online archive of stories and translations in all manner of languages. Pursuit of such a vision is not easy. There is a great deal of misconception about African Languages and their places in our personal and communal intellectual discourse. In our contribution to improving the publication of, as well as encouraging readership of works in African languages we needed to lay a firm foundation. First, we recognise that there are voices that have come before us who have already done a great deal to fight for language rights. Our selection of a story by Ngũgi wa Thiong’o was a recognition towards those who had taken responsibility for our languages. As practical visionaries, interested more in turning ideas into actions, we work with full acknowledgement of what has come before. We take into consideration the conversations that have been held on the subject, and bring these further by pursuing our translation work in ways that examine barriers of the past and find ways to overcome them now. +

+

+Just as we have created and continue to create a database of literary translators, we want to establish a base of devoted readers. Earlier in the process, someone was quick to ask me, rather sceptically, what happens after we have published the translations and who will even be interested in reading them? Once the first Translation Issue was published, the translators and our most devoted readers started sharing the work on Facebook, Twitter, and Blogs while expressing their excitement at seeing such a publication. People tweeted links and shared specific languages on their timelines. A twitter user in Ethiopia, @LindaYohannes, tweeted, “Reading Ngugi in #Amharic! This feels so right!” Digital technologies helped us tap into greater and faster possibilities whereas the mere exhaustion of putting together the volume in print form would have been enough excuse for us to store the print copies in the warehouse for a month or two before venturing into marketing and distribution. The reality of such exhausting stretch of time in the production process was for a long while the reason why people kept stuck in conversation and never got into doing. +

+ +

Creating digital networks for translation

+

+The connection that is formed between the writer and publisher is quite important, but the connection formed with reader is also crucial. We know by now that there are people across the continent and in the diaspora who believe in the importance of marginalised languages. Perhaps in their love for the translated stories and the process of translation, they too will be inspired to write and translate. In practise, this collective effort will call for a continuous and growing engagement with multi-linguistic storytelling practices. Vigorous social media campaigns and the sharing of the work in all possible media will enhance such reciprocal relations. Also the collaboration with universities and other learning institutions, can create interest or integrate the idea of African languages in research and teaching practises. We find it especially important that children grow up with multi-lingual content and digital facilities will make access possible at a minimal cost. We believe that a generation of young people with a passion for their languages, whatever these languages may be, will be here to hold this vision together for a very long time. To grow that generation we must continue to encourage those among us with the intellectual facilities and various experiences to participate in projects such as the Jalada translations issue. New translators will get the space to experiment with their abilities. And those who have already made attempts in prior translation issues will have the opportunity to continue in a supportive environment that allows their talents to grow.

+

+An important step in executing such a practical approach in the area of translations is to keep a good connection between different players: the writers who are interested in different languages, the translators who value the great power in the stories, and the various publishers who have demonstrated their willingness to disseminate these works further and further. This would not be possible without the connections and collaborative processes we have put in place. At the heart of our practical vision lies a growing network of connections, without which ideas would remain mere ideas. Adapting the structure of digital media – as a web of connections – onto our way of working allows for the perseverance and sharing of our valued resources: languages and the knowledge they carry.

+ +

The Future is Multi-lingual

+

+However, despite the crucial importance of digital platforms we have seen that the work can grow into more than digitally published pieces once they have reached a widespread audience. From its digital space, Ngũgi wa Thiong’o‘s story has been adapted for the stage on several occasions. Each dramatization celebrated the power of cultural diversity in imagining better worlds. Secondly, the story has also gone into print. In Sweden, as a children book; for the occasion of the Mboka Festival of Arts Culture and Sport in three Gambian Languages (Wolof, Mandika, and Fula); and publishers across Spain will print editions in Spanish, Catalan, Galician, Basque, Bable, and Occitan. From digital to stage, to print and then back into the digital realm: In India, a print publication of a translation in Kannada, a Dravidian language, was later republished in an Indian online magazine that reached a few million readers. In the USA, the story was nominated for a project that aims to make short digital eBooks available on the subway for a year. There are more than six thousand nine hundred more languages across the world, and so the story travels. In the future, we hope to see the translators that we work with move on to bigger challenges. For them to take up translation of fictional and non-fiction books. While shorter works can be read much more easily online, actual books may require print publication, and in this sense, the digital and the analogue co-exist in mutual advantage.

+

+Over the course of ten years we envision having ongoing translations of about ten different stories. With each story translated into a hundred or more languages, we will have made it a normal practise to write and translate into and between African Languages. With this practice comes the idea of conversation between the languages as they appear alongside each other. The beauty is in the use of any known language anywhere in the world with confidence and the faith in the good of what is your own, and respecting the faith and confidence of the other in using and celebrating what is theirs. +

+

+And this is the future: a place for practical visionaries. A time of multilingual pride and connections that know no boundaries between writers, publishers, and readers. When we act out our ideas, the future will smash the difficulty of access through digital technologies; the exclusion of languages through translations; and the limitations of opportunities through the growth of collective work. We will wake up one day soon and feel the light of possibility shine upon our faces. And because the ‘Upright Revolution’ of digital innovation is inevitable, the publisher, the writer, the translator and the reader – who wants the works to survive and remain relevant – must find ways of taking advantage of the digital technologies at their disposal.

+ + + footnotes +
    + +
  1. Translated into English by the author, Prof. Ngũgi wa Thiong’o, as The Upright Revolution: Or Why Humans Walk Upright
  2. +
  3. To be a part of the Translation Issue as a translator is to put yourself in the company of other translators making history. We publish each translation on a single page. The language, name, and biography of the translators are the credits listed. We do not discriminate, nor require any advanced experience in literary translation. The only requirement is the desire to produce authentic and verifiable translations that can communicate a story in one’s own language. And while we do not compensate financially for now, we are looking into possibilities of funding and developing a financial model that would allow the sustainability of the work. As we engage more and more translators, the network grows, and opportunities are easily spread across the team for the benefit of diligent translators.
+
+ + + + + + + + + + \ No newline at end of file diff --git a/PRACTICAL_VISION/_old/practical.txt b/PRACTICAL_VISION/_old/practical.txt new file mode 100644 index 0000000..97c0726 --- /dev/null +++ b/PRACTICAL_VISION/_old/practical.txt @@ -0,0 +1,2 @@ +Practical Vision Jalada A few weeks back someone told me that it is an exceptional achievement for a short story to be translated into a dozen languages. I had never really thought about it, as I am not drawn from a long tradition of scholarship in literary translations. I could not quantify his statement in any way. For me those words came across as a big compliment given the scope of the work done by the Jalada Collective in the past year in the area of translations and the use of digital facilities. Jalada is a pan-African collective of young African writers from all over the African continent, of which I am member as well as the managing editor. It began in 2013 during a workshop convened by renowned editor, Ellah Wakatama Allfrey. We had a lively conversation among the participants about what we as young African creatives drawn from different geographical locations could do with the resources we valued: language, knowledge and our web of connections. So Jalada was born. From wherever we were, we worked together online in what seemed like a virtual office. All you needed to do was post a message, and another member would take action. The Internet became an enabler of collaboration and a resource in the production process of a digital Jalada magazine. Our first thematic issue tackled the often-underexplored subject of mental health within the African context. Our second anthology focused on stories of fictionalized sexual experiences in ways that broke the implied modesty of our fictional boundaries. We also did an anthology on Afrofutures, a publication that allowed us, as Africans, to capture multiple and alternative ways of imagining futures. The Translation Issue Then, we embarked on a translation project in which we aimed to have one short story translated into as many languages as possible. Since March 2016, when we first published the story [i]Ituĩka Rĩa Mũrũngarũ: Kana Kĩrĩa Gĩtũmaga Andũ Mathiĩ Marũngiĩ [i][1], the story has been translated into sixty-eight languages. The initiative has been critically lauded by several scholars as one of the most essential projects in fostering communication amongst readers and speakers of different languages across the globe. Under the umbrella of the powerful magic of storytelling, online publishing has enabled different languages and cultures to find expression and converse with each other. The Jalada website, where the story and its translations are published, acts as a kind of portal to a multiplicity of languages wherein you can find codified languages you may never have heard about. Because for us at Jalada we are keen on multiple narrative modes of textual and visual storytelling, the story continues to be available in podcasts and live multilingual dramatizations. We conceptualised the Jalada translations issue with a specific focus on African Languages. Each language remains a representation of a specific culture on the continent. Taken together, our continent is infinitely rich in its cultural resources. Over 2000 languages exist across the 54 nations. Imagine the monumental impact of a story in all these languages. It would be an immovable symbol. In history and in scholarship it would stand as a testament to the fact that all languages are equal: It does not matter the origins, the color, or the number of people who use any specific language, nor the standardisation of such a language or the lack thereof. The coming together of all those languages would smash any doubt that in our diversity immense beauty can be created with a great and lasting impact. Jalada Translations issue was born from the firm faith that one day, whether it is during my lifetime or in the generations to come, one such short story will exist in all African languages. I want to imagine that over the years the spill over effect of this will transform our attitudes towards the use of our mother tongues and the languages that we learn from our neighbours through our daily interactions. I want to imagine the impact it might have on the access that our children have to texts written in all manner of languages, especially the marginalised languages. We continually learn to reap from the resources that we have. One such irrefutable resource is the language of our mother tongues. The Illusion of Unifying Language Some of the distinctive African languages represented in the translations issue have suffered many years of non-representation in the written form. There are worrisome statistics of the number of books or articles that have been published in these languages. Yet, across many countries and regions within the continent, thousands, tens of thousands, or millions of people use these languages every day. They transact businesses, they pray, they love, and dream of love and life in these languages. And yet, so little is written in them. What is even more worrying is the fewer number of people who get access to these written resources. Most of the written material is in European languages – English, French, and Portuguese – as well as a few dominant African national languages. The illusion of unifying a nation through a single language is wide spread. This has meant a very deliberate marginalisation of African languages and the almost brutal emphasis on the spread and dominance of English or other European languages. Additionally, we feed on that illusion instilled in us by our education systems, which were designed by European colonialists to serve the empire and then continued as desirable norms by post-colonial governments. But there is a daily struggle from many quarters and initiatives to effect change in our school systems. Today, one does not need to go to a well-equipped library to see texts in other languages. You only need to log into social media, and you will see the flow of conversations in all manner of languages, albeit a little inconstant. We do not have to look at that with suspicion. We do not have to feel hate and resentment for the existence of the other or feel burdened by the colonial idea that this is divisive. Over the years, I have noted how many young Nairobians flood institutions to learn French and German. We marvel at the possibility of acquiring what is not necessarily ours. That in itself is a beautiful thing; all knowledge is power. However, most of the individuals learning these languages will never go to France or Germany. They will use that resource they have attained amongst themselves in a very small circle, or for employment purpose such as to serve the occasional tourist or to work at one of the multinationals. Even worse, sometimes it is never put to use. It exists merely as a placeholder in a Curriculum vita or for prestige, such as when someone mentions that they have studied this or that European Language. In their minds they remain psychologically arrested in the desire and continually gravitate towards the European home of the new learned language. However, they will interact very occasionally with speakers of other African Languages. What if that beautiful desire to learn and appreciate a foreign language was also inherently directed towards other African Languages? In failing to have enough systems that can facilitate this kind of interest and indulgence, the online publishing of stories in different languages, multilingual performances, and podcasts are a small but possibly vital contribution. Not just for readers that want to read other languages, but those who have grown up with very little exposure to written texts in their own mother tongue. Practical Vision Ngugi wa Thiongo has used the term “practical vision” to describe the fresh opportunities for disseminating African literature that the digital age makes possible. Practical vision is about activating dreams in the present; it is about translating a vision that seems at far distance into a doing that brings you there. What we envision, is building a future of multilingual pride and connections that know no boundaries between writers, publishers, and readers. And because of our access to and connectivity with the Internet, we are able to move beyond mere conversations towards the execution of ideas. This however requires grit and a lot of help from all corners. If we had done the Translation Issue in the pre-internet age, it would have taken us decades and huge financial means to put it together. The web of translators grew because of my colleagues and interested participants who encouraged others to contribute to the bringing together of sixty-eight languages into one volume. The volume bears the hallmark of conversations between cultures, languages, and people of the world. Thanks to the generosity[2] and time invested by the writers and translators we were able to do this work efficiently in less than a year. Our ways of consuming information have changed radically since oral literature was shared around a bonfire in early evenings. As publisher we therefore try to understand the changing nature of communication and the resultant structures. We want to find ways to take full advantage of digital facilities as it is the reality of our generation and of those to come. We continue to experiment with many more ways to tap into these digital facilities to share stories in all manner of African Languages. The current question is how we can have a continued publication of translations that allow a conversation between the languages of Africa and those of the world. Can we create a digital publication that captures the infinite resources in our languages and cultures? In order to meet this challenge, we decided to select one short story a year – short enough to allow a relatively ease of work in terms of translation – that was powerful enough to speak across multiple cultures. Our vision is to have each story translated into as many African Languages as possible. And one day, in the not so distant future, we will have an online archive of stories and translations in all manner of languages. Pursuit of such a vision is not easy. There is a great deal of misconception about African Languages and their places in our personal and communal intellectual discourse. In our contribution to improving the publication of, as well as encouraging readership of works in African languages we needed to lay a firm foundation. First, we recognise that there are voices that have come before us who have already done a great deal to fight for language rights. Our selection of a story by Ngũgi wa Thiong’o was a recognition towards those who had taken responsibility for our languages. As practical visionaries, interested more in turning ideas into actions, we work with full acknowledgement of what has come before. We take into consideration the conversations that have been held on the subject, and bring these further by pursuing our translation work in ways that examine barriers of the past and find ways to overcome them now. Just as we have created and continue to create a database of literary translators, we want to establish a base of devoted readers. Earlier in the process, someone was quick to ask me, rather sceptically, what happens after we have published the translations and who will even be interested in reading them? Once the first Translation Issue was published, the translators and our most devoted readers started sharing the work on Facebook, Twitter, and Blogs while expressing their excitement at seeing such a publication. People tweeted links and shared specific languages on their timelines. A twitter user in Ethiopia, @LindaYohannes, tweeted, “Reading Ngugi in #Amharic! This feels so right!” Digital technologies helped us tap into greater and faster possibilities whereas the mere exhaustion of putting together the volume in print form would have been enough excuse for us to store the print copies in the warehouse for a month or two before venturing into marketing and distribution. The reality of such exhausting stretch of time in the production process was for a long while the reason why people kept stuck in conversation and never got into doing. Creating digital networks for translation The connection that is formed between the writer and publisher is quite important, but the connection formed with reader is also crucial. We know by now that there are people across the continent and in the diaspora who believe in the importance of marginalised languages. Perhaps in their love for the translated stories and the process of translation, they too will be inspired to write and translate. In practise, this collective effort will call for a continuous and growing engagement with multi-linguistic storytelling practices. Vigorous social media campaigns and the sharing of the work in all possible media will enhance such reciprocal relations. Also the collaboration with universities and other learning institutions, can create interest or integrate the idea of African languages in research and teaching practises. We find it especially important that children grow up with multi-lingual content and digital facilities will make access possible at a minimal cost. We believe that a generation of young people with a passion for their languages, whatever these languages may be, will be here to hold this vision together for a very long time. To grow that generation we must continue to encourage those among us with the intellectual facilities and various experiences to participate in projects such as the Jalada translations issue. New translators will get the space to experiment with their abilities. And those who have already made attempts in prior translation issues will have the opportunity to continue in a supportive environment that allows their talents to grow. An important step in executing such a practical approach in the area of translations is to keep a good connection between different players: the writers who are interested in different languages, the translators who value the great power in the stories, and the various publishers who have demonstrated their willingness to disseminate these works further and further. This would not be possible without the connections and collaborative processes we have put in place. At the heart of our practical vision lies a growing network of connections, without which ideas would remain mere ideas. Adapting the structure of digital media – as a web of connections – onto our way of working allows for the perseverance and sharing of our valued resources: languages and the knowledge they carry. The Future is Multi-lingual However, despite the crucial importance of digital platforms we have seen that the work can grow into more than digitally published pieces once they have reached a widespread audience. From its digital space, Ngũgi wa Thiong’o‘s story has been adapted for the stage on several occasions. Each dramatization celebrated the power of cultural diversity in imagining better worlds. Secondly, the story has also gone into print. In Sweden, as a children book; for the occasion of the Mboka Festival of Arts Culture and Sport in three Gambian Languages (Wolof, Mandika, and Fula); and publishers across Spain will print editions in Spanish, Catalan, Galician, Basque, Bable, and Occitan. From digital to stage, to print and then back into the digital realm: In India, a print publication of a translation in Kannada, a Dravidian language, was later republished in an Indian online magazine that reached a few million readers. In the USA, the story was nominated for a project that aims to make short digital eBooks available on the subway for a year. There are more than six thousand nine hundred more languages across the world, and so the story travels. In the future, we hope to see the translators that we work with move on to bigger challenges. For them to take up translation of fictional and non-fiction books. While shorter works can be read much more easily online, actual books may require print publication, and in this sense, the digital and the analogue co-exist in mutual advantage. Over the course of ten years we envision having ongoing translations of about ten different stories. With each story translated into a hundred or more languages, we will have made it a normal practise to write and translate into and between African Languages. With this practice comes the idea of conversation between the languages as they appear alongside each other. The beauty is in the use of any known language anywhere in the world with confidence and the faith in the good of what is your own, and respecting the faith and confidence of the other in using and celebrating what is theirs. And this is the future: a place for practical visionaries. A time of multilingual pride and connections that know no boundaries between writers, publishers, and readers. When we act out our ideas, the future will smash the difficulty of access through digital technologies; the exclusion of languages through translations; and the limitations of opportunities through the growth of collective work. We will wake up one day soon and feel the light of possibility shine upon our faces. And because the ‘Upright Revolution’ of digital innovation is inevitable, the publisher, the writer, the translator and the reader – who wants the works to survive and remain relevant – must find ways of taking advantage of the digital technologies at their disposal. [footnotes] +1. Translated into English by the author, Prof. Ngũgi wa Thiong’o, as [i]The Upright Revolution: Or Why Humans Walk Upright[i] 2. To be a part of the Translation Issue as a translator is to put yourself in the company of other translators making history. We publish each translation on a single page. The language, name, and biography of the translators are the credits listed. We do not discriminate, nor require any advanced experience in literary translation. The only requirement is the desire to produce authentic and verifiable translations that can communicate a story in one’s own language. And while we do not compensate financially for now, we are looking into possibilities of funding and developing a financial model that would allow the sustainability of the work. 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+ + + + +
+ + + + + +

Practical Vision

+

Jalada

+ +
+A few weeks back someone told me that it is an exceptional achievement for a short story to be translated into a dozen languages .
+I had never really thought about it , as I am not drawn from a long tradition of scholarship in literary translations .
+I could not quantify his statement in any way .
+For me those words came across as a big compliment given the scope of the work done by the Jalada Collective in the past year in the area of translations and the use of digital facilities .
+Jalada is a pan-African collective of young African writers from all over the African continent , of which I am member as well as the managing editor .
+It began in 2013 during a workshop convened by renowned editor , Ellah Wakatama Allfrey .
+We had a lively conversation among the participants about what we as young African creatives drawn from different geographical locations could do with the resources we valued : language , knowledge and our web of connections .
+So Jalada was born .
+From wherever we were , we worked together online in what seemed like a virtual office .
+All you needed to do was post a message , and another member would take action .
+The Internet became an enabler of collaboration and a resource in the production process of a digital Jalada magazine .
+Our first thematic issue tackled the often-underexplored subject of mental health within the African context .
+Our second anthology focused on stories of fictionalized sexual experiences in ways that broke the implied modesty of our fictional boundaries .
+We also did an anthology on Afrofutures , a publication that allowed us , as Africans , to capture multiple and alternative ways of imagining futures .
+The Translation Issue Then , we embarked on a translation project in which we aimed to have one short story translated into as many languages as possible .
+Since March 2016 , when we first published the story [ i ] Ituĩka Rĩa Mũrũngarũ : Kana Kĩrĩa Gĩtũmaga Andũ Mathiĩ Marũngiĩ [ i ] [ 1 ] , the story has been translated into sixty-eight languages .
+The initiative has been critically lauded by several scholars as one of the most essential projects in fostering communication amongst readers and speakers of different languages across the globe .
+Under the umbrella of the powerful magic of storytelling , online publishing has enabled different languages and cultures to find expression and converse with each other .
+The Jalada website , where the story and its translations are published , acts as a kind of portal to a multiplicity of languages wherein you can find codified languages you may never have heard about .
+Because for us at Jalada we are keen on multiple narrative modes of textual and visual storytelling , the story continues to be available in podcasts and live multilingual dramatizations .
+We conceptualised the Jalada translations issue with a specific focus on African Languages .
+Each language remains a representation of a specific culture on the continent .
+Taken together , our continent is infinitely rich in its cultural resources .
+Over 2000 languages exist across the 54 nations .
+Imagine the monumental impact of a story in all these languages .
+It would be an immovable symbol .
+In history and in scholarship it would stand as a testament to the fact that all languages are equal : It does not matter the origins , the color , or the number of people who use any specific language , nor the standardisation of such a language or the lack thereof .
+The coming together of all those languages would smash any doubt that in our diversity immense beauty can be created with a great and lasting impact .
+Jalada Translations issue was born from the firm faith that one day , whether it is during my lifetime or in the generations to come , one such short story will exist in all African languages .
+I want to imagine that over the years the spill over effect of this will transform our attitudes towards the use of our mother tongues and the languages that we learn from our neighbours through our daily interactions .
+I want to imagine the impact it might have on the access that our children have to texts written in all manner of languages , especially the marginalised languages .
+We continually learn to reap from the resources that we have .
+One such irrefutable resource is the language of our mother tongues .
+The Illusion of Unifying Language Some of the distinctive African languages represented in the translations issue have suffered many years of non-representation in the written form .
+There are worrisome statistics of the number of books or articles that have been published in these languages .
+Yet , across many countries and regions within the continent , thousands , tens of thousands , or millions of people use these languages every day .
+They transact businesses , they pray , they love , and dream of love and life in these languages .
+And yet , so little is written in them .
+What is even more worrying is the fewer number of people who get access to these written resources .
+Most of the written material is in European languages English , French , and Portuguese as well as a few dominant African national languages .
+The illusion of unifying a nation through a single language is wide spread .
+This has meant a very deliberate marginalisation of African languages and the almost brutal emphasis on the spread and dominance of English or other European languages .
+Additionally , we feed on that illusion instilled in us by our education systems , which were designed by European colonialists to serve the empire and then continued as desirable norms by post-colonial governments .
+But there is a daily struggle from many quarters and initiatives to effect change in our school systems .
+Today , one does not need to go to a well-equipped library to see texts in other languages .
+You only need to log into social media , and you will see the flow of conversations in all manner of languages , albeit a little inconstant .
+We do not have to look at that with suspicion .
+We do not have to feel hate and resentment for the existence of the other or feel burdened by the colonial idea that this is divisive .
+Over the years , I have noted how many young Nairobians flood institutions to learn French and German .
+We marvel at the possibility of acquiring what is not necessarily ours .
+That in itself is a beautiful thing ; all knowledge is power .
+However , most of the individuals learning these languages will never go to France or Germany .
+They will use that resource they have attained amongst themselves in a very small circle , or for employment purpose such as to serve the occasional tourist or to work at one of the multinationals .
+Even worse , sometimes it is never put to use .
+It exists merely as a placeholder in a Curriculum vita or for prestige , such as when someone mentions that they have studied this or that European Language .
+In their minds they remain psychologically arrested in the desire and continually gravitate towards the European home of the new learned language .
+However , they will interact very occasionally with speakers of other African Languages .
+What if that beautiful desire to learn and appreciate a foreign language was also inherently directed towards other African Languages ? In failing to have enough systems that can facilitate this kind of interest and indulgence , the online publishing of stories in different languages , multilingual performances , and podcasts are a small but possibly vital contribution .
+Not just for readers that want to read other languages , but those who have grown up with very little exposure to written texts in their own mother tongue .
+Practical Vision Ngugi wa Thiongo has used the term practical vision to describe the fresh opportunities for disseminating African literature that the digital age makes possible .
+Practical vision is about activating dreams in the present ; it is about translating a vision that seems at far distance into a doing that brings you there .
+What we envision , is building a future of multilingual pride and connections that know no boundaries between writers , publishers , and readers .
+And because of our access to and connectivity with the Internet , we are able to move beyond mere conversations towards the execution of ideas .
+This however requires grit and a lot of help from all corners .
+If we had done the Translation Issue in the pre-internet age , it would have taken us decades and huge financial means to put it together .
+The web of translators grew because of my colleagues and interested participants who encouraged others to contribute to the bringing together of sixty-eight languages into one volume .
+The volume bears the hallmark of conversations between cultures , languages , and people of the world .
+Thanks to the generosity [ 2 ] and time invested by the writers and translators we were able to do this work efficiently in less than a year .
+Our ways of consuming information have changed radically since oral literature was shared around a bonfire in early evenings .
+As publisher we therefore try to understand the changing nature of communication and the resultant structures .
+We want to find ways to take full advantage of digital facilities as it is the reality of our generation and of those to come .
+We continue to experiment with many more ways to tap into these digital facilities to share stories in all manner of African Languages .
+The current question is how we can have a continued publication of translations that allow a conversation between the languages of Africa and those of the world .
+Can we create a digital publication that captures the infinite resources in our languages and cultures ? In order to meet this challenge , we decided to select one short story a year short enough to allow a relatively ease of work in terms of translation that was powerful enough to speak across multiple cultures .
+Our vision is to have each story translated into as many African Languages as possible .
+And one day , in the not so distant future , we will have an online archive of stories and translations in all manner of languages .
+Pursuit of such a vision is not easy .
+There is a great deal of misconception about African Languages and their places in our personal and communal intellectual discourse .
+In our contribution to improving the publication of , as well as encouraging readership of works in African languages we needed to lay a firm foundation .
+First , we recognise that there are voices that have come before us who have already done a great deal to fight for language rights .
+Our selection of a story by Ngũgi wa Thiong o was a recognition towards those who had taken responsibility for our languages .
+As practical visionaries , interested more in turning ideas into actions , we work with full acknowledgement of what has come before .
+We take into consideration the conversations that have been held on the subject , and bring these further by pursuing our translation work in ways that examine barriers of the past and find ways to overcome them now .
+Just as we have created and continue to create a database of literary translators , we want to establish a base of devoted readers .
+Earlier in the process , someone was quick to ask me , rather sceptically , what happens after we have published the translations and who will even be interested in reading them ? Once the first Translation Issue was published , the translators and our most devoted readers started sharing the work on Facebook , Twitter , and Blogs while expressing their excitement at seeing such a publication .
+People tweeted links and shared specific languages on their timelines .
+A twitter user in Ethiopia , @ LindaYohannes , tweeted , Reading Ngugi in # Amharic ! This feels so right ! Digital technologies helped us tap into greater and faster possibilities whereas the mere exhaustion of putting together the volume in print form would have been enough excuse for us to store the print copies in the warehouse for a month or two before venturing into marketing and distribution .
+The reality of such exhausting stretch of time in the production process was for a long while the reason why people kept stuck in conversation and never got into doing .
+Creating digital networks for translation The connection that is formed between the writer and publisher is quite important , but the connection formed with reader is also crucial .
+We know by now that there are people across the continent and in the diaspora who believe in the importance of marginalised languages .
+Perhaps in their love for the translated stories and the process of translation , they too will be inspired to write and translate .
+In practise , this collective effort will call for a continuous and growing engagement with multi-linguistic storytelling practices .
+Vigorous social media campaigns and the sharing of the work in all possible media will enhance such reciprocal relations .
+Also the collaboration with universities and other learning institutions , can create interest or integrate the idea of African languages in research and teaching practises .
+We find it especially important that children grow up with multi-lingual content and digital facilities will make access possible at a minimal cost .
+We believe that a generation of young people with a passion for their languages , whatever these languages may be , will be here to hold this vision together for a very long time .
+To grow that generation we must continue to encourage those among us with the intellectual facilities and various experiences to participate in projects such as the Jalada translations issue .
+New translators will get the space to experiment with their abilities .
+And those who have already made attempts in prior translation issues will have the opportunity to continue in a supportive environment that allows their talents to grow .
+An important step in executing such a practical approach in the area of translations is to keep a good connection between different players : the writers who are interested in different languages , the translators who value the great power in the stories , and the various publishers who have demonstrated their willingness to disseminate these works further and further .
+This would not be possible without the connections and collaborative processes we have put in place .
+At the heart of our practical vision lies a growing network of connections , without which ideas would remain mere ideas .
+Adapting the structure of digital media as a web of connections onto our way of working allows for the perseverance and sharing of our valued resources : languages and the knowledge they carry .
+The Future is Multi-lingual However , despite the crucial importance of digital platforms we have seen that the work can grow into more than digitally published pieces once they have reached a widespread audience .
+From its digital space , Ngũgi wa Thiong o s story has been adapted for the stage on several occasions .
+Each dramatization celebrated the power of cultural diversity in imagining better worlds .
+Secondly , the story has also gone into print .
+In Sweden , as a children book ; for the occasion of the Mboka Festival of Arts Culture and Sport in three Gambian Languages ( Wolof , Mandika , and Fula ) ; and publishers across Spain will print editions in Spanish , Catalan , Galician , Basque , Bable , and Occitan .
+From digital to stage , to print and then back into the digital realm : In India , a print publication of a translation in Kannada , a Dravidian language , was later republished in an Indian online magazine that reached a few million readers .
+In the USA , the story was nominated for a project that aims to make short digital eBooks available on the subway for a year .
+There are more than six thousand nine hundred more languages across the world , and so the story travels .
+In the future , we hope to see the translators that we work with move on to bigger challenges .
+For them to take up translation of fictional and non-fiction books .
+While shorter works can be read much more easily online , actual books may require print publication , and in this sense , the digital and the analogue co-exist in mutual advantage .
+Over the course of ten years we envision having ongoing translations of about ten different stories .
+With each story translated into a hundred or more languages , we will have made it a normal practise to write and translate into and between African Languages .
+With this practice comes the idea of conversation between the languages as they appear alongside each other .
+The beauty is in the use of any known language anywhere in the world with confidence and the faith in the good of what is your own , and respecting the faith and confidence of the other in using and celebrating what is theirs .
+And this is the future : a place for practical visionaries .
+A time of multilingual pride and connections that know no boundaries between writers , publishers , and readers .
+When we act out our ideas , the future will smash the difficulty of access through digital technologies ; the exclusion of languages through translations ; and the limitations of opportunities through the growth of collective work .
+We will wake up one day soon and feel the light of possibility shine upon our faces .
+And because the Upright Revolution of digital innovation is inevitable , the publisher , the writer , the translator and the reader who wants the works to survive and remain relevant must find ways of taking advantage of the digital technologies at their disposal .
+[ footnotes ] 1 .
+Translated into English by the author , Prof.
+Ngũgi wa Thiong o , as [ i ] The Upright Revolution : Or Why Humans Walk Upright [ i ] 2 .
+To be a part of the Translation Issue as a translator is to put yourself in the company of other translators making history .
+We publish each translation on a single page .
+The language , name , and biography of the translators are the credits listed .
+We do not discriminate , nor require any advanced experience in literary translation .
+The only requirement is the desire to produce authentic and verifiable translations that can communicate a story in one s own language .
+And while we do not compensate financially for now , we are looking into possibilities of funding and developing a financial model that would allow the sustainability of the work .
+As we engage more and more translators , the network grows , and opportunities are easily spread across the team for the benefit of diligent translators .
+
+ diff --git a/PRACTICAL_VISION/_old2/grid.png b/PRACTICAL_VISION/_old2/grid.png new file mode 100644 index 0000000..fd7a502 Binary files /dev/null and b/PRACTICAL_VISION/_old2/grid.png differ diff --git a/PRACTICAL_VISION/_old2/index.html b/PRACTICAL_VISION/_old2/index.html new file mode 100644 index 0000000..b0122c7 --- /dev/null +++ b/PRACTICAL_VISION/_old2/index.html @@ -0,0 +1,79 @@ + + + + + + + Practical Vision + + + + + + +
+

PRACTICAL
VISIONS

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  • element 2
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  • element 3
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A few weeks back someone told me that it is an exceptional achievement for a short story to be translated into a dozen languages. I had never really thought about it, as I am not drawn from a long tradition of scholarship in literary translations. I could not quantify his statement in any way. For me those words came across as a big compliment given the scope of the work done by the Jalada Collective in the past year in the area of translations and the use of digital facilities.

+

Jalada is a pan-African collective of young African writers from all over the African continent, of which I am member as well as the managing editor. It began in 2013 during a workshop convened by renowned editor, Ellah Wakatama Allfrey. We had a lively conversation among the participants about what we as young African creatives drawn from different geographical locations could do with the resources we valued: language, knowledge and our web of connections. So Jalada was born. From wherever we were, we worked together online in what seemed like a virtual office. All you needed to do was post a message, and another member would take action. The Internet became an enabler of collaboration and a resource in the production process of a digital Jalada magazine. Our first thematic issue tackled the often-underexplored subject of mental health within the African context. Our second anthology focused on stories of fictionalized sexual experiences in ways that broke the implied modesty of our fictional boundaries. We also did an anthology on Afrofutures, a publication that allowed us, as Africans, to capture multiple and alternative ways of imagining futures.

+

The Translation Issue

+

Then, we embarked on a translation project in which we aimed to have one short story translated into as many languages as possible. Since March 2016, when we first published the story [i] Ituĩka Rĩa Mũrũngarũ: Kana Kĩrĩa Gĩtũmaga Andũ Mathiĩ Marũngiĩ [i], the story has been translated into sixty-eight languages. The initiative has been critically lauded by several scholars as one of the most essential projects in fostering communication amongst readers and speakers of different languages across the globe. Under the umbrella of the powerful magic of storytelling, online publishing has enabled different languages and cultures to find expression and converse with each other. The Jalada website, where the story and its translations are published, acts as a kind of portal to a multiplicity of languages wherein you can find codified languages you may never have heard about. Because for us at Jalada we are keen on multiple narrative modes of textual and visual storytelling, the story continues to be available in podcasts and live multilingual dramatizations.

+

We conceptualised the Jalada translations issue with a specific focus on African Languages. Each language remains a representation of a specific culture on the continent. Taken together, our continent is infinitely rich in its cultural resources. Over 2000 languages exist across the 54 nations. Imagine the monumental impact of a story in all these languages. It would be an immovable symbol. In history and in scholarship it would stand as a testament to the fact that all languages are equal: It does not matter the origins, the color, or the number of people who use any specific language, nor the standardisation of such a language or the lack thereof. The coming together of all those languages would smash any doubt that in our diversity immense beauty can be created with a great and lasting impact.

+

Jalada Translations issue was born from the firm faith that one day, whether it is during my lifetime or in the generations to come, one such short story will exist in all African languages. I want to imagine that over the years the spill over effect of this will transform our attitudes towards the use of our mother tongues and the languages that we learn from our neighbours through our daily interactions. I want to imagine the impact it might have on the access that our children have to texts written in all manner of languages, especially the marginalised languages. We continually learn to reap from the resources that we have. One such irrefutable resource is the language of our mother tongues.

+

The Illusion of Unifying Language

+

Some of the distinctive African languages represented in the translations issue have suffered many years of non-representation in the written form. There are worrisome statistics of the number of books or articles that have been published in these languages. Yet, across many countries and regions within the continent, thousands, tens of thousands, or millions of people use these languages every day. They transact businesses, they pray, they love, and dream of love and life in these languages. And yet, so little is written in them. What is even more worrying is the fewer number of people who get access to these written resources. Most of the written material is in European languages – English, French, and Portuguese – as well as a few dominant African national languages.

+

The illusion of unifying a nation through a single language is wide spread. This has meant a very deliberate marginalisation of African languages and the almost brutal emphasis on the spread and dominance of English or other European languages. Additionally, we feed on that illusion instilled in us by our education systems, which were designed by European colonialists to serve the empire and then continued as desirable norms by post-colonial governments. But there is a daily struggle from many quarters and initiatives to effect change in our school systems.

+

Today, one does not need to go to a well-equipped library to see texts in other languages. You only need to log into social media, and you will see the flow of conversations in all manner of languages, albeit a little inconstant. We do not have to look at that with suspicion. We do not have to feel hate and resentment for the existence of the other or feel burdened by the colonial idea that this is divisive. Over the years, I have noted how many young Nairobians flood institutions to learn French and German. We marvel at the possibility of acquiring what is not necessarily ours. That in itself is a beautiful thing; all knowledge is power. However, most of the individuals learning these languages will never go to France or Germany. They will use that resource they have attained amongst themselves in a very small circle, or for employment purpose such as to serve the occasional tourist or to work at one of the multinationals. Even worse, sometimes it is never put to use. It exists merely as a placeholder in a Curriculum vita or for prestige, such as when someone mentions that they have studied this or that European Language. In their minds they remain psychologically arrested in the desire and continually gravitate towards the European home of the new learned language. However, they will interact very occasionally with speakers of other African Languages. What if that beautiful desire to learn and appreciate a foreign language was also inherently directed towards other African Languages? In failing to have enough systems that can facilitate this kind of interest and indulgence, the online publishing of stories in different languages, multilingual performances, and podcasts are a small but possibly vital contribution. Not just for readers that want to read other languages, but those who have grown up with very little exposure to written texts in their own mother tongue.

+

Practical Vision

+

Ngũgi wa Thiong’o has used the term “practical vision” to describe the fresh opportunities for disseminating African literature that the digital age makes possible. Practical vision is about activating dreams in the present; it is about translating a vision that seems at far distance into a doing that brings you there. What we envision, is building a future of multilingual pride and connections that know no boundaries between writers, publishers, and readers. And because of our access to and connectivity with the Internet, we are able to move beyond mere conversations towards the execution of ideas. This however requires grit and a lot of help from all corners. If we had done the Translation Issue in the pre-internet age, it would have taken us decades and huge financial means to put it together. The web of translators grew because of my colleagues and interested participants who encouraged others to contribute to the bringing together of sixty-eight languages into one volume. The volume bears the hallmark of conversations between cultures, languages, and people of the world. Thanks to the generosity and time invested by the writers and translators we were able to do this work efficiently in less than a year. Our ways of consuming information have changed radically since oral literature was shared around a bonfire in early evenings. As publisher we therefore try to understand the changing nature of communication and the resultant structures. We want to find ways to take full advantage of digital facilities as it is the reality of our generation and of those to come.

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We continue to experiment with many more ways to tap into these digital facilities to share stories in all manner of African Languages. The current question is how we can have a continued publication of translations that allow a conversation between the languages of Africa and those of the world. Can we create a digital publication that captures the infinite resources in our languages and cultures? In order to meet this challenge, we decided to select one short story a year – short enough to allow a relatively ease of work in terms of translation – that was powerful enough to speak across multiple cultures. Our vision is to have each story translated into as many African Languages as possible. And one day, in the not so distant future, we will have an online archive of stories and translations in all manner of languages. Pursuit of such a vision is not easy. There is a great deal of misconception about African Languages and their places in our personal and communal intellectual discourse. In our contribution to improving the publication of, as well as encouraging readership of works in African languages we needed to lay a firm foundation. First, we recognise that there are voices that have come before us who have already done a great deal to fight for language rights. Our selection of a story by Ngũgi wa Thiong’o was a recognition towards those who had taken responsibility for our languages. As practical visionaries, interested more in turning ideas into actions, we work with full acknowledgement of what has come before. We take into consideration the conversations that have been held on the subject, and bring these further by pursuing our translation work in ways that examine barriers of the past and find ways to overcome them now.

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Just as we have created and continue to create a database of literary translators, we want to establish a base of devoted readers. Earlier in the process, someone was quick to ask me, rather sceptically, what happens after we have published the translations and who will even be interested in reading them? Once the first Translation Issue was published, the translators and our most devoted readers started sharing the work on Facebook, Twitter, and Blogs while expressing their excitement at seeing such a publication. People tweeted links and shared specific languages on their timelines. A twitter user in Ethiopia, @LindaYohannes, tweeted, “Reading Ngugi in #Amharic! This feels so right!” Digital technologies helped us tap into greater and faster possibilities whereas the mere exhaustion of putting together the volume in print form would have been enough excuse for us to store the print copies in the warehouse for a month or two before venturing into marketing and distribution. The reality of such exhausting stretch of time in the production process was for a long while the reason why people kept stuck in conversation and never got into doing.

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Creating digital networks for translation

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The connection that is formed between the writer and publisher is quite important, but the connection formed with reader is also crucial. We know by now that there are people across the continent and in the diaspora who believe in the importance of marginalised languages. Perhaps in their love for the translated stories and the process of translation, they too will be inspired to write and translate. In practise, this collective effort will call for a continuous and growing engagement with multi-linguistic storytelling practices. Vigorous social media campaigns and the sharing of the work in all possible media will enhance such reciprocal relations. Also the collaboration with universities and other learning institutions, can create interest or integrate the idea of African languages in research and teaching practises. We find it especially important that children grow up with multi-lingual content and digital facilities will make access possible at a minimal cost. We believe that a generation of young people with a passion for their languages, whatever these languages may be, will be here to hold this vision together for a very long time. To grow that generation we must continue to encourage those among us with the intellectual facilities and various experiences to participate in projects such as the Jalada translations issue. New translators will get the space to experiment with their abilities. And those who have already made attempts in prior translation issues will have the opportunity to continue in a supportive environment that allows their talents to grow.

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An important step in executing such a practical approach in the area of translations is to keep a good connection between different players: the writers who are interested in different languages, the translators who value the great power in the stories, and the various publishers who have demonstrated their willingness to disseminate these works further and further. This would not be possible without the connections and collaborative processes we have put in place. At the heart of our practical vision lies a growing network of connections, without which ideas would remain mere ideas. Adapting the structure of digital media – as a web of connections – onto our way of working allows for the perseverance and sharing of our valued resources: languages and the knowledge they carry.

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The Future is Multi-lingual

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However, despite the crucial importance of digital platforms we have seen that the work can grow into more than digitally published pieces once they have reached a widespread audience. From its digital space, Ngũgi wa Thiong’o‘s story has been adapted for the stage on several occasions. Each dramatization celebrated the power of cultural diversity in imagining better worlds. Secondly, the story has also gone into print. In Sweden, as a children book; for the occasion of the Mboka Festival of Arts Culture and Sport in three Gambian Languages (Wolof, Mandika, and Fula); and publishers across Spain will print editions in Spanish, Catalan, Galician, Basque, Bable, and Occitan. From digital to stage, to print and then back into the digital realm: In India, a print publication of a translation in Kannada, a Dravidian language, was later republished in an Indian online magazine that reached a few million readers. In the USA, the story was nominated for a project that aims to make short digital eBooks available on the subway for a year. There are more than six thousand nine hundred more languages across the world, and so the story travels. In the future, we hope to see the translators that we work with move on to bigger challenges. For them to take up translation of fictional and non-fiction books. While shorter works can be read much more easily online, actual books may require print publication, and in this sense, the digital and the analogue co-exist in mutual advantage.

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Over the course of ten years we envision having ongoing translations of about ten different stories. With each story translated into a hundred or more languages, we will have made it a normal practise to write and translate into and between African Languages. With this practice comes the idea of conversation between the languages as they appear alongside each other. The beauty is in the use of any known language anywhere in the world with confidence and the faith in the good of what is your own, and respecting the faith and confidence of the other in using and celebrating what is theirs.

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And this is the future: a place for practical visionaries. A time of multilingual pride and connections that know no boundaries between writers, publishers, and readers. When we act out our ideas, the future will smash the difficulty of access through digital technologies; the exclusion of languages through translations; and the limitations of opportunities through the growth of collective work. We will wake up one day soon and feel the light of possibility shine upon our faces. And because the ‘Upright Revolution’ of digital innovation is inevitable, the publisher, the writer, the translator and the reader – who wants the works to survive and remain relevant – must find ways of taking advantage of the digital technologies at their disposal.

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prova2

+ + + + + + + + +

PROVA

+ + +
+ Practical Vision(English)
+ Èkaane Edjiouk(Jola)
+ Woni Wi Meko (Kiikamba)
+ Dhana Tekelezwaji (Kiswahili)
+ Umbono Oqondile (IsiZulau)
+ Déffe Guisse (Wolof) +
+ + + +
+

Ka Soumai!

+

This is the playground of the republished text Practical Vision, by Jalada: + you can find the republished text here.

+

What you see in the background is my response to the text, a reflection about the meaning of Complexity related to the language.

+

If you are also interested to print, here you can download the printable file. If you also like this page, there is the possibility to print it as a poster, here!

+

Thank you,
Federico Poni

+
+ + + +
+

A practical Telegram BOT

+ @practical_vision_bot +

This Telegram BOT makes a crowd-sourced dictionary with your translations. You can add every word/sentence you want from english to be translated into any language! Search for it and follow the instructions to add new translations: +

+ word : translation : language +
+ hello : dji safoul : Jola +

+ +
+

Original Contribution by Jalada. +
+ A special thanks to El-Hadji Barsa Rachid Sagna and Munyao Kilolo. +
+ Original Artistic Response by Print The Future. +
+ Republished and complexified by Federico Poni. +
+ Made with love and P5.js

+
+ + + + + + + + + + + diff --git a/PRACTICAL_VISION/index/index.html b/PRACTICAL_VISION/index/index.html new file mode 100644 index 0000000..c258acf --- /dev/null +++ b/PRACTICAL_VISION/index/index.html @@ -0,0 +1,144 @@ + + + + + + + + + + + + + + + + + + + + + +
+

Ka Soumai!

+

This is the playground of the republished text Practical Vision, by Jalada: + you can find the republished text here.

+

What you see in the background is my response to the text, a reflection about the meaning of Complexity related to the language.

+

If you are also interested to print, here you can download the printable file. If you also like this page, there is the possibility to print it as a poster, here!

+

Thank you,
Federico Poni

+
+ + + +
+
+

Ngũgi wa Thiong’o has used the term
+ PRACTICAL VISION
+ to espress the opportunity + to disseminate African + literature the Digital + Age makes it possible. +

+ +

But Practical Vision + can manage also other + marginalised topics. +

+ +

When more Practical Vision + watch themselves, they create translations + between different languages. +

+ +

When more Practical Vision + is not a standard vision.
+ It attempts to take care + of diversity as a whole. +

+ +

Complexity contains + dreams and violence, + skyscrapers and slums, + freedom and control, + smart fridges and phone cables, + colonialism and conspiracies, + holy buildings and sheds full of computers to store data and so on. +

+ +
+ + +
+ +
+ +
+
+
+ +
+ +

They attempt to protect past and + future cultures and they work through + organic and inorganic networks. +

+ + +

A hyperobject is something + that creates, continuously, small + or big events somewhere. + Not here, not there - it is more a + shadow.

+ + +

A hyperobject is multi-dimensional. + That means we cannot see + the effects of its events clearly.

+ +
+ + +
+ + +

They inhabit this + hyperobject called Complexity.

*

+ +

The Complexity is a very big + hyperobject:
it contains all + the different existing + realities.

+ +

It’s easy to guess the Complexity is a complex dude.

+ +

Complexity is the magnificent + result of interaction. + Interaction is possible thanks + to language.

+ +

Programming languages (currently) are closer to 700.
+ Human languages are closer to 9600.

+ +

There are a lot of different kind of languages.

+ +

+
+
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+ +

Jola
and English.
Practical translations
with my friend Barsa,
from Coubanao, Senegal

+ +
+ + + PRACTICAL +
+ VISION +
+ + + ÈKAANE +
+ EDJIOUK +
+ + + +
+ +
+ +

A few weeks back someone told me that it is an exceptional achievement for a short story to be translated into a dozen languages. I had never really thought about it, as I am not drawn from a long tradition of scholarship in literary translations. I could not quantify his statement in any way. For me those words came across as a big compliment given the scope of the work done by the Jalada Collective in the past year in the area of translations and the use of digital facilities.

+

Jalada is a pan-African collectiveof young African writers from all over the African continent, of which I am member as well as the managing editor. It began in 2013 during a workshop convened by renowned editor,Ellah Wakatama Allfrey.We had a lively conversation among the participants about what we as young African creatives drawn from different geographical locations could do with the resources + we valued: languageA, knowledgeL and our web of connections. So Jalada was born. From wherever we were, we worked together onlineH in what seemed like a virtual office. All you needed to do was post a message, and another member would take action. The Internet became an enabler of collaborationL and a resource in the production process of a digital Jalada magazine. Our first thematic issuetackled the often-underexplored subject of mental health within the African context. Our second anthology focused on stories of fictionalized sexual experiences in ways that broke the implied modesty of our fictional boundaries. We also did an anthology on Afrofutures, a publication that allowed us, as Africans, to capture multipleL and alternative ways of imagining futures.

+ + The Translation Issue +

Then, we embarked on a translation project in which we aimed to have one short story translated into as many languages as possible. Since March 2016,when we first published the story Ituĩka Rĩa Mũrũngarũ: Kana Kĩrĩa Gĩtũmaga Andũ Mathiĩ Marũngiĩ,[1]the story has been translated into sixty-eight languages. + + The initiative has been critically lauded by several scholars as one of the most essential projects in fostering communication amongst readers and speakers of different languages across the globe. + + Under the umbrella of the powerful magic of storytelling, online publishing has enabled different languages and culturesO to find expression and converse with each other. The Jalada website, where the story and its translations are published, acts as a kind of portal to a multiplicityH of languages wherein you can find codified languages you may never have heard about. Because for us at Jalada we are keen on multiple narrativeA modes of textual and visual storytelling, the story continues to be available in podcasts and live multilingual dramatizations.

+ +

We conceptualised the Jalada translations issue with a specific focus on African Languages. Each languageO remains a representation of a specific culture on the continent. Taken together, our continent is infinitely rich in its cultural resources. + + Over 2000 languages exist across the 54 nations. Imagine the monumental impact of a story in all these languages. It would be an immovable symbol. In history and in scholarship it would stand as a testament to the fact that + + all languages are equal: It does not matter the origins, the color, or the number of people who use any specific language, nor the standardisationE of such a language or the lack thereof. + + The coming together of all those languages would smash any doubt that in our diversity immense beauty can be created with a great and lasting impact.

+ +

Jalada Translations issue was born from the firm faith that one day, whether it is during my lifetime or in the generations to come, one such short story will exist in all African languages. + + I want to imagine that over the years the spill over effect of this will transform our attitudes towards the use of our mother tongues and the languages that we learn from our neighbours through our daily interactions. I want to imagine the impact it might have on the access that our children have to texts written in all manner of languages, especially the marginalised languages. We continually learn to reap from the resources that we have. One such irrefutable resource is the language of our mother tongues.A

+ + The Illusion of Unifying Language + +

Some of the distinctive African languages represented in the translations issue have suffered many years of non-representation in the written form. There are worrisome statistics of the number of books or articles that have been published in these languages. Yet, across many countries and regions within the continent, thousands, tens of thousands, or millions of people use these languages every day. + + They transact businesses, they pray, they love, and dream of love and life in these languages. And yet, so little is written in them. What is even more worrying is the fewer number of people who get accessH to these written resources. Most of the written material is in European languages – English, French, and Portuguese – as well as a few dominant African national languages.

+ +

The illusion of unifying a nation through a single language is wide spread. This has meant a very deliberate marginalisation of African languages and the almost brutal emphasis on the spread and dominance of English or other European languages. Additionally,we feed on that illusion instilled in us by our education systems, which were designed by European colonialists to serve the empire and then continued as desirable norms by post-colonial governmentsM. But there is a daily struggle from many quarters and initiatives to effect change in our school systems.

+ +

Today, one does not need to go to a well-equipped library to see texts in other languages. You only need to log into social media, and you will see the flow of conversations in all manner of languages, albeit a little inconstant. We do not have to look at that with suspicion. We do not have to feel hate and resentment for the existence of the other or feel burdened by the colonial ideaH that this is divisive. Over the years, + + I have notedhow many young Nairobians flood institutions to learn French and German. marvel at the possibility of acquiring what is not necessarily ours. + This in itself is a beautiful thing; all knowledge is power. However, most of the individuals learning these languages will never go to France or Germany. They will use that resource they have attained amongst themselves in a very small circle, or for employment purpose such as to serve the occasional tourist or to work at one of the multinationals. Even worse, sometimes it is never put to use. It exists merely as a placeholder in a Curriculum vita or for prestige, such as when someone mentions that they have studied this or that European Language. In their minds they remain psychologically arrested in the desire and continually gravitate towards the European home of the new learned language. However, they will interact very occasionally with speakers of other African Languages. + + What if that beautiful desire to learn and appreciate a foreign language was also inherently directed towards other African Languages? In failing to have enough systems that can facilitate this kind of interest and indulgence, the online publishing of stories in different languages, + + multilingual performances, and podcasts are a small but possibly vital contribution. Not just for readers that want to read other languages, but those who have grown up with very little exposure to written texts in their own mother tongue.

+ +

Ngũgi wa Thiong’o has used the term “practical vision” to describe the fresh opportunities for disseminating African literature that the digital age makes possible. + + Practical vision is about activating dreams in the present; it is about translating a vision that seems at far distance into a doing that brings you there. + + What we envision, is building a future of multilingual pride and connections that know no boundaries between writers, publishers, and readers. And because of our access to and connectivity with the Internet, we are able to move beyond mere conversations towards the execution of ideas. This however requires grit and a lot of help from all corners. If we had done the Translation Issue in the pre-internet age, it would have taken us decades and huge financial means to put it together. The web of translators grew because of my colleagues and interested participants who encouraged others to contribute to the bringing together of sixty-eight languages into one volume. The volume bears the hallmark of conversations between culturesR, languages, and people of the world. Thanks to the generosity[2]and time invested by the writers and translators we were able to do this work efficiently in less than a year. Our ways of consuming information have changed radically since oral literature was shared around a bonfire in early evenings. As publisher we therefore try to understand the changing nature of communication and the resultant structures. + + We want to find ways to take full advantage of digital facilities as it is the reality of our generation and of those to come.

+ + Practical Vision +

We continue to experiment with many more ways to tap into these digital facilities to share stories in all manner of African Languages. The current question is how we can have a continued publication of translations that allow a conversation between the languages of Africa and those of the world. + + Can we create a digital publication that captures the infinite resources in our languages and cultures? In order to meet this challenge, we decided to select one short story a year – short enough to allow a relatively ease of work in terms of translation – that was powerful enough to speak across multipleU cultures. + +

Our vision is to have each story translated into as many African Languages as possible. And one day, in the not so distant future, we will have an online archive of stories and translations in all manner of languages. Pursuit of such a vision is not easy. There is a great deal of misconception about African Languages and their places in our personal and communal intellectual discourse. In our contribution to improving the publication of, as well as encouraging readership of works in African languages we needed to lay a firm foundation. First, we recognise that there are voices that have come before us who have already done a great deal to fight for language rights. Our selection of a story by Ngũgi wa Thiong’o was a recognition towards those who had taken responsibility for our languages. + + As practical visionaries, interested more in turning ideas into actions, we work with full acknowledgement of what has come before. We take into consideration the conversations that have been held on the subject, and bring these further by pursuing our translation work in ways that examine barriers of the past and find ways to overcome them now.

+ +

Just as we have created and continue to create a database of literaryM translators, we want to establish a base of devoted readers. Earlier in the process, someone was quick to ask me, rather sceptically, what happens after we have published the translations and who will even be interested in reading them? Once the first Translation Issue was published, the translators and our most devoted readers started sharing the work on Facebook, Twitter, and Blogs while expressing their excitement at seeing such a publication. People tweeted links and shared specific languages on their timelines. A twitter user in Ethiopia, @LindaYohannes, tweeted
“Reading Ngugi in #Amharic! This feels so right!”
Digital technologies helped us tap into greater and faster possibilities whereas the mere exhaustion of putting together the volume in print form would have been enough excuse for us to store the print copies in the warehouse for a month or two before venturing into marketing and distribution. The reality of such exhausting stretch of time in the production process was for a long while the reason why people kept stuck in conversation and never got into doing.

+ + Creating digital networks for translation + +

The connection that is formed between the writer and publisher is quite important, but the connection formed with reader is also crucial. We know by now that there are people across the continent and in the diaspora who believe in the importance of marginalised languages. Perhaps in their love for the translated stories and the process of translation, they too will be inspired to write and translate. In practise, this + + collective effort will call for a continuous and growing engagement with multi-linguistic storytelling practices. Vigorous social media campaigns and the sharing of the work in all possible media will enhance such reciprocal relations. Also the collaboration with universities and other learning institutions, can create interest or integrate the idea of African languages in research and teaching practises. + + We find it especially important that children grow up with multi-lingual content and digital facilities will make access possible at a minimal cost. We believe that a generation of young people with a passion for their languagesO, whatever these languages may be, will be here to hold this vision together for a very long time. To grow that generation we must continue to encourage those among us with the intellectual facilities and various experiences to participate in projects such as the Jalada translations issue. New translators will get the space to experiment with their abilities. + + And those who have already made attempts in prior translation issues will have the opportunity to continue in a supportive environment that allows their talents to grow.L

+ +

An important step in executing such a practical approach in the area of translations is to keep a good connection between different players: the writers who are interested in different languages, the translators who valueO the great power in the stories, and the various publishers who have demonstrated their willingness to disseminate these works further and further. This would not be possible without the connections and collaborativeUA processes we have put in place. At the heart of our practical vision lies a growing network of connectionsA, without which ideas would remain mere ideas. Adapting the structure of digital media – as a web of connections – onto our way of working allows for the perseverance and sharing of our valued resources: languagesT and the knowledge they carry.

+The Future is Multi-lingual +

However, despite the crucial importance of digital platforms we have seen that the work can grow into more than digitally published pieces once they have reached a widespread audience. From its digital space, Ngũgi wa Thiong’o‘s story has been adapted for the stage on several occasions. Each dramatization celebrated the power of + + cultural diversity in imagining better worlds.LUAR Secondly, the story has also gone into print. In Sweden, as a children book; for the occasion of the Mboka Festival of Arts Culture and Sport in three Gambian Languages (Wolof, Mandika, and Fula); and publishers across Spain will print editions in Spanish, Catalan, Galician, Basque, Bable, and Occitan. From digital to stage, to print and then back into the digital realm: In India, a print publication of a translation in Kannada, a Dravidian language, was later republished in an Indian online magazine that reached a few million readers. In the USA, the story was nominated for a project that aims to make short digital eBooks available on the subway for a year. + + There are more than six thousand nine hundred more languagesM across the world, and so the story travels.TL In the future, we hope to see the translators that we work with move on to bigger challenges. For them to take up translation of fictional and non-fiction books. While shorter works can be read much more easily online, actual books may require print publication, and in this sense, + + the digital and the analogue co-exist in mutual advantage.

+ +

Over the course of ten years we envision having ongoing translations of about ten different stories. With each story translated into a hundred or more languages, we will have made it a + + normal practise to write and translate into and between African Languages. With this practice comes the idea of conversation between the languages as they appear alongside each other. The beauty is in the use of any known languageM anywhere in the world with confidence and the faith in the good of what is your own, and respecting the faith and confidence of the other in using and celebrating what is theirs.

+ +

And this is the future: a place for practical visionaries. A time of multilingual prideO and connections that know no boundaries between writers, publishers, and readers. When we act out our ideas, the future will smash the difficulty of access through digital technologies; the exclusion of languages through translations; and the limitations of opportunities through the growth of collective work. We will wake up one day soon and feel the light of possibility shine upon our faces. And because the ‘Upright Revolution’ of digital innovation is inevitable, the publisher, the writer, the translator and the reader – + + wants the works to survive and remain relevant – must find ways of taking advantage of the digital technologies at their disposal.

+ +

[1]Translated into English by the author, Prof. Ngũgi wa Thiong’o, as The Upright Revolution: Or Why Humans Walk Upright.

+

[2]To be a part of the Translation Issue as a translator is to put yourself in the company of other translators making history. We publish each translation on a single page. The language, name, and biography of the translators are the credits listed. We do not discriminate, nor require any advanced experience in literaryU translation. The only requirement is the desire to produce authentic and verifiable translations that can communicate a story in one’s own language. And while we do not compensate financially for now, we are looking into possibilities of funding and developing a financial model that would allow the sustainability of the work. As we engage more and more translators, the network grows, and opportunities are easily spread across the team for the benefit of diligent translators.

+ +
+
+ +

+ Original Contribution by Jalada. +
+ A special thanks to El-Hadji Barsa Rachid Sagna and Munyao Kilolo. +
+ Original Artistic Response by Print The Future. +
+ Republished and complexified by Federico Poni. +
+ Made with love and P5.js +

+ +
+ +
+ + + +
+ + +
+ Woni
Wi Meko (Kiikamba)

+ Dhana
Tekelezwaji (Kiswahili)

+ Umbono
Oqondile (IsiZulau)

+ Déffe
Guisse (Wolof)
+
+ + +
    +
  1. Languages
  2. +
  3. Knowledge
  4. +
  5. Web of Connections
  6. +
+ + + +

ALL LANGUAGES ARE EQUAL.

+ +

Most African countries are a colonial invention: there are tribes, and every tribe has its own language.

+ +

Usually, in Senegal, people speak three languages.
Namely, French in institutions, learned at schools, Wolof learned from mass media and their mother tongue or other tribal language learned from family.

+ +

Many Nairobians learn French and German even if it is not necessary, this comes from their colonial heritage.
Sure, in itself it is a beautiful thing, since all knowledge is power, but this attitude often means people almost neglect their own mothertongue.

+ + + + +

What if that beautiful desire to learn and appreciate a foreign language was also inherently directed towards other African Languages?

+ + http://salta.su/djisafoul + http://coubanao.salta.su + +

PRACTICAL VISION:
the fresh opportunity for disseminating African literature that the digital age makes possible.

+ +

Practical Vision lives also in the digital realm. They protect past and future cultures, thanks to organic and inorganic networks.

+ + + +

Practical Vision fights against the attempt of a single language culture → Practical Vision fights against this global standardisation →  Practical Vision thinks about another balanced globality.

+ + + + + +

A COLLECTIVE NETWORK OF TRANSLATORS

+ +

Let's act to build a pluri-diverse future, while embracing technology to create knowledge.

+ +

THE FUTURE IS MULTI-LINGUAL !

+ +


Imagining better worlds is a multi-cultural discipline.

+ +

THERE ARE MORE THAN SIX THOUSAND NINE HUNDRED LANGUAGES ACROSS THE WORLD

+ +

This is the future: a place for practical visionaries.

+ +

+ + + +
+ +

A practical Telegram BOT

+ +

This Telegram BOT makes a  crowd-sourced dictionary with your translations. You can add every word/sentence you want from english to be translated into any language! Search for it and follow the instructions to add new translations:

+ + word : translation : language
+ hello : dji safoul : Jola +

+
+
+ +
+ + + + + + + + diff --git a/PRACTICAL_VISION/printing/style.css b/PRACTICAL_VISION/printing/style.css new file mode 100644 index 0000000..8553a84 --- /dev/null +++ b/PRACTICAL_VISION/printing/style.css @@ -0,0 +1,370 @@ +* { + box-sizing: border-box; +} + +html { + /* width: 100%; */ + /* min-height: 100%; */ +} + + +body { + /* margin-top:10%; */ + margin: 0; + padding: 0; + margin-left: 2cm; + +} + +.row:after { + content: ""; + display: table; + clear: both; +} + + +@font-face { + font-family: "CothamSans"; + src: url("../assets/fonts/CothamSans.otf"); +} + +@font-face { + font-family: "Mazius"; + src: url("../assets/fonts/MAZIUSREVIEW20.09-Extraitalic.woff"); +} + + +@font-face { +font-family: "Porpora"; +src: url("../assets/fonts/Porpora-Regular.woff"); +} + +@font-face { +font-family: "Sinistre"; +src: url("../assets/fonts/Sinistre-StCaroline.woff"); +} + +@font-face { + font-family: "HKGrotesk"; + src: url("../assets/fonts/HKGrotesk-Regular.woff"); + } + +@font-face { + font-family: "HKGrotesk-Light"; + src: url("../assets/fonts/HKGrotesk-Light.otf"); + } + +@font-face { + font-family: "wftfs-Regular"; + src: url("../assets/fonts/wftfs-Regular.otf"); + } + + +:root{ + /* --porpora: font-family: "Porpora"; + --sinistre: font-family: "Sinistre"; + --cotham: font-family: "CothamSans"; */ + font-family: "HKGrotesk"; + + + --regular: 16px; + --focus: 24px; + --focus2: 48px; + --title: 150px; + --footnote: 14px; + --subtitle: 32px; + + --inl-reg: 20px; + --inl-foot: 14px; + + --purple: #ff1493; + --green: #0DF46F; + --green-tit: #0DF46F80; +} + +.barsa{ + color: var(--green); + font-size: var(--focus); + line-height: 26px; + position: absolute; + margin-top: 160px; +} + +#title{ + margin: 60px 0 70px 0; + line-height: 10px; +} + +.jola, .jola2{ + line-height: 0.2px; + font-family: "Sinistre"; + color: var(--purple); + font-size: var(--title); + margin-left: 350px; +} + +.jola2{ + margin-left: 500px; + color: var(--purple); +} + +.eng, .eng2{ + line-height: 70px; + font-family: "CothamSans"; + font-size: var(--title); + color: var(--green-tit) +} +.eng2{ + margin-left: 105px; +} + +img{ + width:200px; + display: absolute; + /* margin: 5% 20% ; */ +} + +.column { + float: left; + /* height: 10000px; */ +} + +.right{ + + /* display: flex; + flex-direction: column; + align-content: space-between; + align-content: space-evenly; + list-style: none; */ + width: 390px; + + margin-right: 0 + /* height: 100%; */ + +} + +.right p{ + font-size: var(--focus); + color: var(--green); + text-align: right; + +} + +.right p,a{ + margin: 75px 10px; + line-height: 24px; +} + + +.right a{ + font-size: 16px; + color: var(--green); + margin-left: 150px; +} + +.left{ + width: 730px; + /* height: 100%; */ +} + + +.left p{ + color: var(--purple); + font-size: var(--regular); + line-height: var(--inl-reg) +} + +.left a{ + text-decoration: none; + color: var(--purple); + line-height: var(--inl-reg) +} + + +ol{ + font-size:30px; + margin-left: 40px +} + +li{ + color: var(--green); +} + + +#body{ + /* max-width: 100%; */ + position: absolute; +} + +#supra{ + width:297mm; + /* height: 417mm; */ + /* margin:auto; */ +} + +#footnoteone, #footnotetwo{ + color: var(--green); + font-size: var(--regular); + line-height: var(--inl-reg); +} + + +#footnoteone-r, #footnotetwo-r{ + color: var(--purple); + font-size: var(--footnote); + line-height: var(--inl-foot); +} + +.footnote p{ + color: var(--green); + font-size: var(--footnote); + line-height: var(--inl-foot); +} + +.credit{ + /* margin-left: 0.8cm; */ + text-align: left; + font-size: var(--regular); + color: var(--purple); +} + +.credit span{ + color: var(--green); +} + +p2{ + color: var(--green); + font-size: var(--subtitle); + font-family: "CothamSans"; + + + /* font-family: "Mazius"; */ + /* font-family: "Porpora"; */ + /* font-family: "HKGrotesk"; */ + margin: 0; + line-height: 40px; + text-align: justify; + text-justify: inter-word; + text-transform: uppercase; +} + +#tweetQuote{ + color: var(--green); + /* margin-left: 10%; */ + font-style: italic; + line-height: 60px; + font-size: 24px; +} + +a{ + text-decoration: none; + color: var(--green); + text-align: left +} + +.language{ + font-family: "Sinistre"; +} + + + +#tradu{ + text-align: right; + margin-right:50px; + transform: rotate(3deg); + +} + +#tradu span{ + + line-height: 27px +} + +#tradu .pico{ + font-size:var(--regular); + font-family: "Sinistre"; +} + +#tradu .primo{ + color: var(--green); + font-family: "Mazius"; + font-size:var(--focus2); + +} + +#tradu .secondo{ + color: var(--purple); + font-size:var(--focus2); + font-family: "Porpora"; +} + +.telegram{ + text-align: right; + + border: var(--green) solid 3px; + padding:8px; + width:350px; + margin-left: 30px + +} + +.telegram .tito{ + color: var(--purple); + font-size:var(--focus2); + line-height: 48px; +} + +.telegram p a{ + font-size: var(--focus); + line-height: 80px; + text-align: right; + margin-right: 200px +} +.telegram p{ + color: var(--purple); +font-size:var(--regular); +line-height: 20px; + margin:0; + padding-left: 20px +} + +.telegram .link{ + font-size: var(--focus); + color: var(--green); + margin: 24px 0 +} + +.telegram span{ + font-size:var(--focus); + color: var(--purple); + font-family: "Sinistre" +} + +.telegram i { + font-family: "HKGrotesk-Light"; + font-size:var(--focus); + color: var(--purple); +} + +.telegram .v{ + color: var(--green) +} + +.glyph{ + font-family: "wftfs-Regular"; +} + +.glyph span{ + + font-size: 20px +} + + + + + + + + + + diff --git a/PRACTICAL_VISION/scripts/P4Vector.js b/PRACTICAL_VISION/scripts/P4Vector.js new file mode 100644 index 0000000..d1445be --- /dev/null +++ b/PRACTICAL_VISION/scripts/P4Vector.js @@ -0,0 +1,27 @@ +// Daniel Shiffman +// http://youtube.com/thecodingtrain +// http://codingtra.in +// JavaScript transcription: Chuck England + +// Coding Challenge #113: 4D Hypercube +// https://youtu.be/XE3YDVdQSPo + +// Matrix Multiplication +// https://youtu.be/tzsgS19RRc8 + + +class P4Vector { + constructor(x, y, z, w) { + this.x = x || 0; + this.y = y || 0; + this.z = z || 0; + this.w = w || 0; + } + + mult(f) { + this.x *= f; + this.y *= f; + this.z *= f; + this.w *= f; + } +} diff --git a/PRACTICAL_VISION/scripts/hc.js b/PRACTICAL_VISION/scripts/hc.js new file mode 100644 index 0000000..96aaf62 --- /dev/null +++ b/PRACTICAL_VISION/scripts/hc.js @@ -0,0 +1,122 @@ +// Daniel Shiffman +// http://youtube.com/thecodingtrain +// http://codingtra.in +// JavaScript transcription: Chuck England + +// Coding Challenge #113: 4D Hypercube +// https://youtu.be/XE3YDVdQSPo + +// Matrix Multiplication +// https://youtu.be/tzsgS19RRc8 + +// Modified by Federico Poni +// Wor(L)ds for the future, XPUB MA, 2020 + +let angle = 0; + +let points = []; + + + function windowResized() { + resizeCanvas(innerWidth,innerHeight); +} + +function setup() { + createCanvas(innerWidth, windowHeight, WEBGL); + + points[0] = new P4Vector(-1, -1, -1, 1); + points[1] = new P4Vector(1, -1, -1, 1); + points[2] = new P4Vector(1, 1, -1, 1); + points[3] = new P4Vector(-1, 1, -1, 1); + points[4] = new P4Vector(-1, -1, 1, 1); + points[5] = new P4Vector(1, -1, 1, 1); + points[6] = new P4Vector(1, 1, 1, 1); + points[7] = new P4Vector(-1, 1, 1, 1); + points[8] = new P4Vector(-1, -1, -1, -1); + points[9] = new P4Vector(1, -1, -1, -1); + points[10] = new P4Vector(1, 1, -1, -1); + points[11] = new P4Vector(-1, 1, -1, -1); + points[12] = new P4Vector(-1, -1, 1, -1); + points[13] = new P4Vector(1, -1, 1, -1); + points[14] = new P4Vector(1, 1, 1, -1); + points[15] = new P4Vector(-1, 1, 1, -1); +} + +function draw() { + background(20,240,40); +// background(255); + rotateX(-PI / 2); + let projected3d = []; + + for (let i = 0; i < points.length; i++) { + const v = points[i]; + + const rotationXY = [ + [cos(angle), -sin(angle), 0, 0], + [sin(angle), cos(angle), 0, 0], + [0, 0, 1, 0], + [0, 0, 0, 1], + ]; + + const rotationZW = [ + [1, 0, 0, 0], + [0, 1, 0, 0], + [0, 0, cos(angle), -sin(angle)], + [0, 0, sin(angle), cos(angle)] + ]; + + let rotated = matmul(rotationXY, v); + rotated = matmul(rotationZW, rotated); + + let distance = 2; + let w = 1 / (distance - rotated.w); //lunghezza interna + + const projection = [ + [w, 0, 0, 0], + [0, w, 0, 0], + [0, 0, w, 0], + ]; + + let projected = matmul(projection, rotated); + projected.mult(width / 8); //zoom in + projected3d[i] = projected; + + strokeWeight(10); + strokeWeight(80); + stroke(20,240,40); + stroke(255); + + point(projected.x, projected.y, projected.z); + } + + // Connecting + for (let i = 0; i < 4; i++) { + connect(0, i, (i + 1) % 4, projected3d); + connect(0, i + 4, ((i + 1) % 4) + 4, projected3d); + connect(0, i, i + 4, projected3d); + } + + for (let i = 0; i < 4; i++) { + connect(8, i, (i + 1) % 4, projected3d); + connect(8, i + 4, ((i + 1) % 4) + 4, projected3d); + connect(8, i, i + 4, projected3d); + } + + for (let i = 0; i < 8; i++) { + connect(0, i, i + 8, projected3d); + } + + if (mouseX > innerWidth/4 && mouseX < innerWidth - innerWidth/4){ + angle = map(mouseX, 0, width, 0, TWO_PI); + }else{ + angle += 0.03;} +} + +function connect(offset, i, j, points) { + strokeWeight(10); + stroke(20,240,40); + stroke(255); + const a = points[i + offset]; + const b = points[j + offset]; + line(a.x, a.y, a.z, b.x, b.y, b.z); +} \ No newline at end of file diff --git a/PRACTICAL_VISION/scripts/hcindex.js b/PRACTICAL_VISION/scripts/hcindex.js new file mode 100644 index 0000000..cd363eb --- /dev/null +++ b/PRACTICAL_VISION/scripts/hcindex.js @@ -0,0 +1,118 @@ +// Daniel Shiffman +// http://youtube.com/thecodingtrain +// http://codingtra.in +// JavaScript transcription: Chuck England + +// Coding Challenge #113: 4D Hypercube +// https://youtu.be/XE3YDVdQSPo + +// Matrix Multiplication +// https://youtu.be/tzsgS19RRc8 + +let angle = 0; + +let points = []; + + + function windowResized() { + resizeCanvas(innerWidth/2,innerHeight); +} + +function setup() { + var cnv = createCanvas(innerWidth/2, windowHeight, WEBGL); + cnv.position(0,0); + cnv.style('z-index','-10') + + points[0] = new P4Vector(-1, -1, -1, 1); + points[1] = new P4Vector(1, -1, -1, 1); + points[2] = new P4Vector(1, 1, -1, 1); + points[3] = new P4Vector(-1, 1, -1, 1); + points[4] = new P4Vector(-1, -1, 1, 1); + points[5] = new P4Vector(1, -1, 1, 1); + points[6] = new P4Vector(1, 1, 1, 1); + points[7] = new P4Vector(-1, 1, 1, 1); + points[8] = new P4Vector(-1, -1, -1, -1); + points[9] = new P4Vector(1, -1, -1, -1); + points[10] = new P4Vector(1, 1, -1, -1); + points[11] = new P4Vector(-1, 1, -1, -1); + points[12] = new P4Vector(-1, -1, 1, -1); + points[13] = new P4Vector(1, -1, 1, -1); + points[14] = new P4Vector(1, 1, 1, -1); + points[15] = new P4Vector(-1, 1, 1, -1); +} + +function draw() { + background(255,255,255,0); + rotateX(-PI / 2); + let projected3d = []; + + for (let i = 0; i < points.length; i++) { + const v = points[i]; + + const rotationXY = [ + [cos(angle), -sin(angle), 0, 0], + [sin(angle), cos(angle), 0, 0], + [0, 0, 1, 0], + [0, 0, 0, 1], + ]; + + const rotationZW = [ + [1, 0, 0, 0], + [0, 1, 0, 0], + [0, 0, cos(angle), -sin(angle)], + [0, 0, sin(angle), cos(angle)] + ]; + + let rotated = matmul(rotationXY, v); + rotated = matmul(rotationZW, rotated); + + let distance = 2; + let w = 1 / (distance - rotated.w); //lunghezza interna + + const projection = [ + [w, 0, 0, 0], + [0, w, 0, 0], + [0, 0, w, 0], + ]; + + let projected = matmul(projection, rotated); + projected.mult(width / 8); //zoom in + projected3d[i] = projected; + + strokeWeight(10); + strokeWeight(80); + // stroke(220,10,210); + stroke(20,240,40); + + point(projected.x, projected.y, projected.z); + } + + // Connecting + for (let i = 0; i < 4; i++) { + connect(0, i, (i + 1) % 4, projected3d); + connect(0, i + 4, ((i + 1) % 4) + 4, projected3d); + connect(0, i, i + 4, projected3d); + } + + for (let i = 0; i < 4; i++) { + connect(8, i, (i + 1) % 4, projected3d); + connect(8, i + 4, ((i + 1) % 4) + 4, projected3d); + connect(8, i, i + 4, projected3d); + } + + for (let i = 0; i < 8; i++) { + connect(0, i, i + 8, projected3d); + } + + //angle = map(mouseX, 0, width, 0, TWO_PI); + angle += 0.03; +} + +function connect(offset, i, j, points) { + strokeWeight(10); + stroke(20,240,40); + // stroke(255); + const a = points[i + offset]; + const b = points[j + offset]; + line(a.x, a.y, a.z, b.x, b.y, b.z); +} \ No newline at end of file diff --git a/PRACTICAL_VISION/scripts/home.js b/PRACTICAL_VISION/scripts/home.js new file mode 100644 index 0000000..bff4b04 --- /dev/null +++ b/PRACTICAL_VISION/scripts/home.js @@ -0,0 +1,29 @@ +var prova = document.getElementById("prova2"); +let provaBez = prova.getBoundingClientRect(); + +var prova2 = document.getElementById("prova"); +let provaBez2 = prova2.getBoundingClientRect(); + +let x1 = provaBez.left; +let y1 = provaBez.top; +let x2 = provaBez2.left; +let y2 = provaBez2.top; + +console.log(x1,y1, 200, 100, x2, y2) + +var c = document.getElementById("myCanvas"); + var ctx = c.getContext("2d"); + ctx.canvas.width = window.innerWidth; + ctx.canvas.height = window.innerHeight; + ctx.beginPath(); + + + + + + ctx.bezierCurveTo(x1,y1, 200, 100, x2, y2); + + + ctx.stroke(); + + diff --git a/PRACTICAL_VISION/scripts/matrix.js b/PRACTICAL_VISION/scripts/matrix.js new file mode 100644 index 0000000..9073d32 --- /dev/null +++ b/PRACTICAL_VISION/scripts/matrix.js @@ -0,0 +1,99 @@ +// JavaScript transcription: Chuck England +// Daniel Shiffman +// http://youtube.com/thecodingtrain +// http://codingtra.in + +// Coding Challenge #113: 4D Hypercube +// https://youtu.be/XE3YDVdQSPo + +// Matrix Multiplication +// https://youtu.be/tzsgS19RRc8 + +function vecToMatrix(v) { + let m = []; + for (let i = 0; i < 3; i++) { + m[i] = []; + } + m[0][0] = v.x; + m[1][0] = v.y; + m[2][0] = v.z; + return m; +} + +function vec4ToMatrix(v) { + let m = vecToMatrix(v); + m[3] = []; + m[3][0] = v.w; + return m; +} + +function matrixToVec(m) { + return createVector(m[0][0], m[1][0], m[2][0]); +} + +function matrixToVec4(m) { + let r = new P4Vector(m[0][0], m[1][0], m[2][0], 0); + if (m.length > 3) { + r.w = m[3][0]; + } + return r; +} + +function logMatrix(m) { + const cols = m[0].length; + const rows = m.length; + console.log(rows + "x" + cols); + console.log("----------------"); + let s = ''; + for (let i = 0; i < rows; i++) { + for (let j = 0; j < cols; j++) { + s += (m[i][j] + " "); + } + console.log(s); + } + console.log(); +} + +function matmulvec(a, vec) { + let m = vecToMatrix(vec); + let r = matmul(a, m); + return matrixToVec(r); +} + +function matmulvec4(a, vec) { + let m = vec4ToMatrix(vec); + let r = matmul(a, m); + return matrixToVec4(r); +} + +function matmul(a, b) { + if (b instanceof p5.Vector) { + return matmulvec(a, b); + } + if (b instanceof P4Vector) { + return matmulvec4(a, b); + } + + let colsA = a[0].length; + let rowsA = a.length; + let colsB = b[0].length; + let rowsB = b.length; + + if (colsA !== rowsB) { + console.error("Columns of A must match rows of B"); + return null; + } + + result = []; + for (let j = 0; j < rowsA; j++) { + result[j] = []; + for (let i = 0; i < colsB; i++) { + let sum = 0; + for (let n = 0; n < colsA; n++) { + sum += a[j][n] * b[n][i]; + } + result[j][i] = sum; + } + } + return result; +} diff --git a/PRACTICAL_VISION/scripts/p5.scribble.js b/PRACTICAL_VISION/scripts/p5.scribble.js new file mode 100644 index 0000000..949fff5 --- /dev/null +++ b/PRACTICAL_VISION/scripts/p5.scribble.js @@ -0,0 +1,458 @@ +/* +This file contains functions for drawing 2d primitives with a handy sketchy look in p5.js. + +Author: Janneck Wullschleger in 07/2016 +Web: http://itsjw.de +Mail: jw@itsjw.de + +Updated: 24.02.2017 to use with a reference to the p5 instance. +Just put it in as param to the constructor. + +Much of the source code is taken from the handy library for processing, +written by Jo Wood, giCentre, City University London based on an idea by Nikolaus Gradwohl. +The handy library is licensed under the GNU Lesser General Public License: http://www.gnu.org/licenses/. +*/ + +function Scribble(p) { + this.sketch = p || window; + this.bowing = 1; + this.roughness = 1; + this.maxOffset = 2; + this.numEllipseSteps = 9; + this.ellipseInc = (Math.PI*2)/this.numEllipseSteps; + + this.getOffset = function( minVal, maxVal ) { + return this.roughness*(this.sketch.random()*(maxVal-minVal)+minVal); + } + + this.buildEllipse = function( cx, cy, rx, ry, offset, overlap ) { + var radialOffset = this.getOffset( -0.5, 0.5 )-Math.PI/2; + + this.sketch.beginShape(); + this.sketch.curveVertex( this.getOffset( -offset, offset )+cx+0.9*rx*Math.cos( radialOffset-this.ellipseInc ), + this.getOffset( -offset, offset )+cy+0.9*ry*Math.sin( radialOffset-this.ellipseInc ) ); + + for ( var theta = radialOffset; theta < Math.PI*2+radialOffset-0.01; theta+=this.ellipseInc ) { + this.sketch.curveVertex( this.getOffset( -offset, offset )+cx+rx*Math.cos( theta ), + this.getOffset( -offset, offset )+cy+ry*Math.sin( theta ) ); + } + + this.sketch.curveVertex( this.getOffset( -offset, offset )+cx+rx*Math.cos( radialOffset+Math.PI*2+overlap*0.5 ), + this.getOffset( -offset, offset )+cy+ry*Math.sin( radialOffset+Math.PI*2+overlap*0.5 ) ); + + this.sketch.curveVertex( this.getOffset( -offset, offset )+cx+0.98*rx*Math.cos( radialOffset+overlap ), + this.getOffset( -offset, offset )+cy+0.98*ry*Math.sin( radialOffset+overlap ) ); + + this.sketch.curveVertex( this.getOffset( -offset, offset )+cx+0.9*rx*Math.cos( radialOffset+overlap*0.5 ), + this.getOffset( -offset, offset )+cy+0.9*ry*Math.sin( radialOffset+overlap*0.5 ) ); + this.sketch.endShape(); + } + + this.getIntersectingLines = function( lineCoords, xCoords, yCoords ) { + var intersections = []; + var s1 = new Segment( lineCoords[0], lineCoords[1], lineCoords[2], lineCoords[3] ); + + for ( var i = 0; i < xCoords.length; i++ ) { + var s2 = new Segment( xCoords[i], yCoords[i], xCoords[(i+1)%xCoords.length], yCoords[(i+1)%xCoords.length] ); + + if ( s1.compare(s2) == Relation.INTERSECTS ) { + intersections.push( [s1.getIntersectionX(), s1.getIntersectionY()] ); + } + } + return intersections; + } + + this.scribbleLine = function( x1, y1, x2, y2 ) { + var lenSq = (x1-x2)*(x1-x2) + (y1-y2)*(y1-y2); + var offset = this.maxOffset; + + if ( this.maxOffset*this.maxOffset*100 > lenSq ) { + offset = Math.sqrt( lenSq )/10; + } + + var halfOffset = offset/2; + var divergePoint = 0.2 + this.sketch.random()*0.2; + var midDispX = this.bowing*this.maxOffset*(y2-y1)/200; + var midDispY = this.bowing*this.maxOffset*(x1-x2)/200; + midDispX = this.getOffset( -midDispX, midDispX ); + midDispY = this.getOffset( -midDispY, midDispY ); + + this.sketch.noFill(); + + this.sketch.beginShape(); + this.sketch.vertex( x1 + this.getOffset( -offset, offset ), y1 + this.getOffset( -offset, offset ) ); + this.sketch.curveVertex(x1 + this.getOffset( -offset, offset ), y1 + this.getOffset( -offset, offset ) ); + this.sketch.curveVertex(midDispX+x1+(x2 -x1)*divergePoint + this.getOffset( -offset, offset ), midDispY+y1 + (y2-y1)*divergePoint + this.getOffset( -offset, offset ) ); + this.sketch.curveVertex(midDispX+x1+2*(x2-x1)*divergePoint + this.getOffset( -offset, offset ), midDispY+y1+ 2*(y2-y1)*divergePoint + this.getOffset( -offset,offset ) ); + this.sketch.curveVertex(x2 + this.getOffset( -offset, offset ), y2 + this.getOffset( -offset, offset ) ); + this.sketch.vertex( x2 + this.getOffset( -offset, offset ), y2 + this.getOffset( -offset, offset ) ); + this.sketch.endShape(); + + this.sketch.beginShape(); + this.sketch.vertex( x1 + this.getOffset( -halfOffset, halfOffset ), y1 + this.getOffset( -halfOffset, halfOffset ) ); + this.sketch.curveVertex(x1 + this.getOffset( -halfOffset, halfOffset ), y1 + this.getOffset( -halfOffset, halfOffset ) ); + this.sketch.curveVertex(midDispX+x1+(x2 -x1)*divergePoint + this.getOffset( -halfOffset, halfOffset ), midDispY+y1 + (y2-y1)*divergePoint + this.getOffset( -halfOffset, halfOffset ) ); + this.sketch.curveVertex(midDispX+x1+2*(x2-x1)*divergePoint + this.getOffset( -halfOffset, halfOffset ), midDispY+y1+ 2*(y2-y1)*divergePoint + this.getOffset( -halfOffset, halfOffset ) ); + this.sketch.curveVertex(x2 + this.getOffset( -halfOffset, halfOffset ), y2 + this.getOffset( -halfOffset, halfOffset ) ); + this.sketch.vertex( x2 + this.getOffset( -halfOffset, halfOffset ), y2 + this.getOffset( -halfOffset, halfOffset ) ); + this.sketch.endShape(); + } + + this.scribbleCurve = function( x1, y1, x2, y2, x3, y3, x4, y4 ) { + this.sketch.bezier( x1+this.getOffset( -2, 2 ), y1+this.getOffset( -2, 2 ), + x3+this.getOffset( -4, 4 ), y3+this.getOffset( -3, 3 ), + x4+this.getOffset( -3, 3 ), y4+this.getOffset( -3, 3 ), + x2+this.getOffset( -1, 1 ), y2+this.getOffset( -1, 1 ) ); + + this.sketch.bezier( x1+this.getOffset( -2, 2 ), y1+this.getOffset( -2, 2 ), + x3+this.getOffset( -3, 3 ), y3+this.getOffset( -3, 3 ), + x4+this.getOffset( -3, 3 ), y4+this.getOffset( -4, 4 ), + x2+this.getOffset( -2, 2 ), y2+this.getOffset( -2, 2 ) ); + } + + this.scribbleRect = function( x, y, w, h ) { + var halfWidth = w/2; + var halfHeight = h/2; + var left = Math.min( x-halfWidth, x+halfWidth ); + var right = Math.max( x-halfWidth, x+halfWidth ); + var top = Math.min( y-halfHeight, y+halfHeight ); + var bottom = Math.max( y-halfHeight, y+halfHeight ); + + this.scribbleLine( left, top, right, top ); + this.scribbleLine( right, top, right, bottom ); + this.scribbleLine( right, bottom, left, bottom ); + this.scribbleLine( left, bottom, left, top ); + } + + this.scribbleRoundedRect = function( x, y, w, h, radius ) { + var halfWidth = w/2; + var halfHeight = h/2; + + if ( radius == 0 || radius > halfWidth || radius > halfHeight ) { + this.scribbleRect( x, y, w, h ); + return; + } + + var left = Math.min( x-halfWidth, x+halfWidth ); + var right = Math.max( x-halfWidth, x+halfWidth ); + var top = Math.min( y-halfHeight, y+halfHeight ); + var bottom = Math.max( y-halfHeight, y+halfHeight ); + + this.scribbleLine( left+radius, top, right-radius, top, 1.5 ); + this.scribbleLine( right, top+radius, right, bottom-radius, 1.5 ); + this.scribbleLine( right-radius, bottom, left+radius, bottom, 1.5 ); + this.scribbleLine( left, bottom-radius, left, top+radius, 1.5 ); + + this.scribbleCurve( left+radius, top, left, top+radius, left+radius*0.1, top+radius*0.1, left+radius*0.1, top+radius*0.1 ); + this.scribbleCurve( right-radius, top, right, top+radius, right-radius*0.1, top+radius*0.1, right-radius*0.1, top+radius*0.1 ); + this.scribbleCurve( left+radius, bottom, left, bottom-radius, left+radius*0.1, bottom-radius*0.1, left+radius*0.1, bottom-radius*0.1 ); + this.scribbleCurve( right-radius, bottom, right, bottom-radius, right-radius*0.1, bottom-radius*0.1, right-radius*0.1, bottom-radius*0.1 ); + } + + this.scribbleEllipse = function( x, y, w, h ) { + var rx = Math.abs(w/2); + var ry = Math.abs(h/2); + + rx += this.getOffset( -rx*0.05, rx*0.05 ); + ry += this.getOffset( -ry*0.05, ry*0.05 ); + + this.buildEllipse( x, y, rx, ry, 1, this.ellipseInc*this.getOffset( 0.1, this.getOffset( 0.4, 1 ) ) ); + this.buildEllipse( x, y, rx, ry, 1.5, 0 ); + } + + this.scribbleFilling = function( xCoords, yCoords, gap, angle ) { + if ((xCoords == null) || (yCoords == null) || (xCoords.length == 0) || (yCoords.length == 0)) { + return; + } + + var hachureAngle = this.sketch.radians( angle%180 ); + var cosAngle = Math.cos( hachureAngle ); + var sinAngle = Math.sin( hachureAngle ); + var tanAngle = Math.tan( hachureAngle ); + + var left = xCoords[0]; + var right = xCoords[0]; + var top = yCoords[0]; + var bottom = yCoords[0]; + + for ( var i = 1; i < xCoords.length; i++ ) { + left = Math.min( left, xCoords[i] ); + right = Math.max( right, xCoords[i] ); + top = Math.min( top, yCoords[i] ); + bottom = Math.max( bottom, yCoords[i] ); + } + + var it = new HachureIterator( top-1, bottom+1, left-1, right+1, gap, sinAngle, cosAngle, tanAngle ); + var rectCoords = null; + + while ( (rectCoords = it.getNextLine()) != null ) { + var lines = this.getIntersectingLines( rectCoords, xCoords, yCoords ); + + for ( var i = 0; i < lines.length; i+=2 ) { + if ( i < lines.length-1 ) { + var p1 = lines[i]; + var p2 = lines[i+1]; + this.scribbleLine( p1[0], p1[1], p2[0], p2[1], 2 ); + } + } + } + } +} + + + +function HachureIterator( _top, _bottom, _left, _right, _gap, _sinAngle, _cosAngle, _tanAngle ) { + var sinAngle = _sinAngle; + var tanAngle = _tanAngle; + var top = _top; + var bottom = _bottom; + var left = _left; + var right = _right; + var gap = _gap; + + var pos; + var deltaX, hGap; + var sLeft, sRight; + + if (Math.abs(sinAngle) < 0.0001) { + pos = left+gap; + } else if (Math.abs(sinAngle) > 0.9999) { + pos = top+gap; + } else { + deltaX = (bottom-top)*Math.abs(tanAngle); + pos = left-Math.abs(deltaX); + hGap = Math.abs(gap / _cosAngle); + sLeft = new Segment(left, bottom, left, top); + sRight = new Segment(right, bottom, right, top); + } + + this.getNextLine = function() { + if (Math.abs(sinAngle) < 0.0001) { + if (pos < right) { + var line = [pos, top, pos, bottom]; + pos += gap; + return line; + } + } else if (Math.abs(sinAngle) > 0.9999) { + if (pos right) && (xUpper > right))) { + pos += hGap; + xLower = pos-deltaX/2; + xUpper = pos+deltaX/2; + + if (pos > right+deltaX) { + return null; + } + } + + var s = new Segment(xLower, yLower, xUpper, yUpper); + + if (s.compare(sLeft) == Relation.INTERSECTS) { + xLower = s.getIntersectionX(); + yLower = s.getIntersectionY(); + } + if (s.compare(sRight) == Relation.INTERSECTS) { + xUpper = s.getIntersectionX(); + yUpper = s.getIntersectionY(); + } + if (tanAngle > 0) { + xLower = right-(xLower-left); + xUpper = right-(xUpper-left); + } + + var line = [xLower, yLower, xUpper, yUpper]; + pos += hGap; + return line; + } + } + return null; + } +} + +function Segment( _x1, _y1, _x2, _y2 ) { + var x1 = _x1; + var y1 =_y1; + var x2 = _x2; + var y2 = _y2; + var a, b, c; + var undef; + var xi = Number.MAX_VALUE; + var yi = Number.MAX_VALUE; + + a=y2-y1; + b=x1-x2; + c=x2*y1-x1*y2; + + if ((a==0) && (b==0) && (c==0)) { + undef = true; + } else { + undef = false; + } + + this.compare = function( otherSegment ) { + if ((this.isUndefined()) || (otherSegment.isUndefined())) { + return Relation.UNDEFINED; + } + + var grad1 = Number.MAX_VALUE; + var grad2 = Number.MAX_VALUE; + var int1 = 0; + var int2 = 0; + + if (Math.abs(b) > 0.00001) { + grad1 = -a/b; + int1 = -c/b; + } + + if (Math.abs(otherSegment.getB()) > 0.00001) { + grad2 = -otherSegment.getA()/otherSegment.getB(); + int2 = -otherSegment.getC()/otherSegment.getB(); + } + + if (grad1 == Number.MAX_VALUE) { + if (grad2 == Number.MAX_VALUE) { + if (-c/a != -otherSegment.getC()/otherSegment.getA()) { + return Relation.SEPARATE; + } + + if ((y1 >= Math.min(otherSegment.getPy1(),otherSegment.getPy2())) && + (y1 <= Math.max(otherSegment.getPy1(),otherSegment.getPy2()))) { + xi = x1; + yi = y1; + return Relation.INTERSECTS; + } + + if ((y2 >= Math.min(otherSegment.getPy1(),otherSegment.getPy2())) && + (y2 <= Math.max(otherSegment.getPy1(),otherSegment.getPy2()))) { + xi = x2; + yi = y2; + return Relation.INTERSECTS; + } + + return Relation.SEPARATE; + } + + xi = x1; + yi = grad2*xi+int2; + + if (((y1-yi)*(yi-y2) < -0.00001) || ((otherSegment.getPy1()-yi)*(yi-otherSegment.getPy2()) < -0.00001)) { + return Relation.SEPARATE; + } + + if (Math.abs(otherSegment.getA()) < 0.00001) { + if ((otherSegment.getPx1()-xi)*(xi-otherSegment.getPx2()) < -0.00001) { + return Relation.SEPARATE; + } + return Relation.INTERSECTS; + } + return Relation.INTERSECTS; + } + + if (grad2 == Number.MAX_VALUE) { + xi = otherSegment.getPx1(); + yi = grad1*xi+int1; + + if (((otherSegment.getPy1()-yi)*(yi-otherSegment.getPy2()) < -0.00001) || ((y1-yi)*(yi-y2) < -0.00001)) { + return Relation.SEPARATE; + } + + if (Math.abs(a) < 0.00001) { + if ((x1-xi)*(xi-x2) < -0.00001) { + return Relation.SEPARATE; + } + return Relation.INTERSECTS; + } + return Relation.INTERSECTS; + } + + if (grad1 == grad2) { + if (int1 != int2) { + return Relation.SEPARATE; + } + + if ((x1 >= Math.min(otherSegment.getPx1(),otherSegment.getPx2())) && + (x1 <= Math.max(otherSegment.getPy1(),otherSegment.getPy2()))) { + xi = x1; + yi = y1; + return Relation.INTERSECTS; + } + + if ((x2 >= Math.min(otherSegment.getPx1(),otherSegment.getPx2())) && + (x2 <= Math.max(otherSegment.getPx1(),otherSegment.getPx2()))) { + xi = x2; + yi = y2; + return Relation.INTERSECTS; + } + + return Relation.SEPARATE; + } + + xi = (int2-int1)/(grad1-grad2); + yi = grad1*xi + int1; + + if (((x1-xi)*(xi-x2) < -0.00001) || ((otherSegment.getPx1()-xi)*(xi-otherSegment.getPx2()) < -0.00001)) { + return Relation.SEPARATE; + } + return Relation.INTERSECTS; + } + + this.getPx1 = function() { + return x1; + } + + this.getPy1 = function() { + return y1; + } + + this.getPx2 = function() { + return x2; + } + + this.getPy2 = function() { + return y2; + } + + this.isUndefined = function() { + return undef; + } + + this.getA = function() { + return a; + } + + this.getB = function() { + return b; + } + + this.getC = function() { + return c; + } + + this.getIntersectionX = function() { + return xi; + } + + this.getIntersectionY = function() { + return yi; + } + + this.getLength = function( tx1, ty1, tx2, ty2 ) { + var dx = tx2 - tx1; + var dy = ty2 - ty1; + return Math.sqrt(dx*dx + dy*dy); + } + +} + +var Relation = { LEFT:1, RIGHT:2, INTERSECTS:3, AHEAD:4, BEHIND:5, SEPARATE:6, UNDEFINED:7 }; diff --git a/PRACTICAL_VISION/scripts/plain-draggable.min.js b/PRACTICAL_VISION/scripts/plain-draggable.min.js new file mode 100644 index 0000000..8615cf0 --- /dev/null +++ b/PRACTICAL_VISION/scripts/plain-draggable.min.js @@ -0,0 +1,2 @@ +/*! 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A few weeks back someone told me that it is an exceptional achievement for a short story to be translated into a dozen languages. I had never really thought about it, as I am not drawn from a long tradition of scholarship in literary translations. I could not quantify his statement in any way. For me those words came across as a big compliment given the scope of the work done by the Jalada Collective in the past year in the area of translations and the use of digital facilities.

+

Jalada is a pan-African collectiveof young African writers from all over the African continent, of which I am member as well as the managing editor. It began in 2013 during a workshop convened by renowned editor,Ellah Wakatama Allfrey.We had a lively conversation among the participants about what we as young African creatives drawn from different geographical locations could do with the resources + we valued: language, knowledge and our web of connections. So Jalada was born. From wherever we were, we worked together online in what seemed like a virtual office. All you needed to do was post a message, and another member would take action. The Internet became an enabler of collaboration and a resource in the production process of a digital Jalada magazine. Our first thematic issuetackled the often-underexplored subject of mental health within the African context. Our second anthology focused on stories of fictionalized sexual experiences in ways that broke the implied modesty of our fictional boundaries. We also did an anthology on Afrofutures, a publication that allowed us, as Africans, to capture multiple and alternative ways of imagining futures.

+ + The Translation Issue +

Then, we embarked on a translation project in which we aimed to have one short story translated into as many languages as possible. Since March 2016,when we first published the story Ituĩka Rĩa Mũrũngarũ: Kana Kĩrĩa Gĩtũmaga Andũ Mathiĩ Marũngiĩ,Over 2000 languages exist across the 54 nations. Imagine the monumental impact of a story in all these languages. It would be an immovable symbol. In history and in scholarship it would stand as a testament to the fact that + +all languages are equal: It does not matter the origins, the color, or the number of people who use any specific language, nor the standardisation of such a language or the lack thereof. + +The coming together of all those languages would smash any doubt that in our diversity immense beauty can be created with a great and lasting impact.

+ +

Jalada Translations issue was born from the firm faith that one day, whether it is during my lifetime or in the generations to come, one such short story will exist in all African languages. + +I want to imagine that over the years the spill over effect of this will transform our attitudes towards the use of our mother tongues and the languages that we learn from our neighbours through our daily interactions. I want to imagine the impact it might have on the access that our children have to texts written in all manner of languages, especially the marginalised languages. We continually learn to reap from the resources that we have. One such irrefutable resource is the language of our mother tongues.

+ +The Illusion of Unifying Language + +

Some of the distinctive African languages represented in the translations issue have suffered many years of non-representation in the written form. There are worrisome statistics of the number of books or articles that have been published in these languages. Yet, across many countries and regions within the continent, thousands, tens of thousands, or millions of people use these languages every day. + +They transact businesses, they pray, they love, and dream of love and life in these languages. And yet, so little is written in them. What is even more worrying is the fewer number of people who get access to these written resources. Most of the written material is in European languages – English, French, and Portuguese – as well as a few dominant African national languages.

+ +

The illusion of unifying a nation through a single language is wide spread. This has meant a very deliberate marginalisation of African languages and the almost brutal emphasis on the spread and dominance of English or other European languages. Additionally, + +we feed on that illusion instilled in us by our education systems, which were designed by European colonialists to serve the empire and then continued as desirable norms by post-colonial governments. But there is a daily struggle from many quarters and initiatives to effect change in our school systems.

+ +

Today, one does not need to go to a well-equipped library to see texts in other languages. You only need to log into social media, and you will see the flow of conversations in all manner of languages, albeit a little inconstant. We do not have to look at that with suspicion. We do not have to feel hate and resentment for the existence of the other or feel burdened by the colonial idea that this is divisive. Over the years, + +I have notedhow many young Nairobians flood institutions to learn French and German. marvel at the possibility of acquiring what is not necessarily ours. + in itself is a beautiful thing; all knowledge is power. However, most of the individuals learning these languages will never go to France or Germany. They will use that resource they have attained amongst themselves in a very small circle, or for employment purpose such as to serve the occasional tourist or to work at one of the multinationals. Even worse, sometimes it is never put to use. It exists merely as a placeholder in a Curriculum vita or for prestige, such as when someone mentions that they have studied this or that European Language. In their minds they remain psychologically arrested in the desire and continually gravitate towards the European home of the new learned language. However, they will interact very occasionally with speakers of other African Languages. + +What if that beautiful desire to learn and appreciate a foreign language was also inherently directed towards other African Languages? In failing to have enough systems that can facilitate this kind of interest and indulgence, the online publishing of stories in different languages, + +multilingual performances, and podcasts are a small but possibly vital contribution. Not just for readers that want to read other languages, but those who have grown up with very little exposure to written texts in their own mother tongue.

+ +

Ngũgi wa Thiong’o has used the term “practical vision” to describe the fresh opportunities for disseminating African literature that the digital age makes possible. + +Practical vision is about activating dreams in the present; it is about translating a vision that seems at far distance into a doing that brings you there. + +What we envision, is building a future of multilingual pride and connections that know no boundaries between writers, publishers, and readers. And because of our access to and connectivity with the Internet, we are able to move beyond mere conversations towards the execution of ideas. This however requires grit and a lot of help from all corners. If we had done the Translation Issue in the pre-internet age, it would have taken us decades and huge financial means to put it together. The web of translators grew because of my colleagues and interested participants who encouraged others to contribute to the bringing together of sixty-eight languages into one volume. The volume bears the hallmark of conversations between cultures, languages, and people of the world. Thanks to the generosity invested by the writers and translators we were able to do this work efficiently in less than a year. Our ways of consuming information have changed radically since oral literature was shared around a bonfire in early evenings. As publisher we therefore try to understand the changing nature of communication and the resultant structures. + +We want to find ways to take full advantage of digital facilities as it is the reality of our generation and of those to come.

+ +Practical Vision +

We continue to experiment with many more ways to tap into these digital facilities to share stories in all manner of African Languages. The current question is how we can have a continued publication of translations that allow a conversation between the languages of Africa and those of the world. + +Can we create a digital publication that captures the infinite resources in our languages and cultures? In order to meet this challenge, we decided to select one short story a year – short enough to allow a relatively ease of work in terms of translation – that was powerful enough to speak across multiple cultures. + +

Our vision is to have each story translated into as many African Languages as possible. And one day, in the not so distant future, we will have an online archive of stories and translations in all manner of languages. Pursuit of such a vision is not easy. There is a great deal of misconception about African Languages and their places in our personal and communal intellectual discourse. In our contribution to improving the publication of, as well as encouraging readership of works in African languages we needed to lay a firm foundation. First, we recognise that there are voices that have come before us who have already done a great deal to fight for language rights. Our selection of a story by Ngũgi wa Thiong’o was a recognition towards those who had taken responsibility for our languages. + +As practical visionaries, interested more in turning ideas into actions, we work with full acknowledgement of what has come before. We take into consideration the conversations that have been held on the subject, and bring these further by pursuing our translation work in ways that examine barriers of the past and find ways to overcome them now.

+ +

Just as we have created and continue to create a database of literary translators, we want to establish a base of devoted readers. Earlier in the process, someone was quick to ask me, rather sceptically, what happens after we have published the translations and who will even be interested in reading them? Once the first Translation Issue was published, the translators and our most devoted readers started sharing the work on Facebook, Twitter, and Blogs while expressing their excitement at seeing such a publication. People tweeted links and shared specific languages on their timelines. A twitter user in Ethiopia, @LindaYohannes, tweeted
“Reading Ngugi in #Amharic! This feels so right!”
Digital technologies helped us tap into greater and faster possibilities whereas the mere exhaustion of putting together the volume in print form would have been enough excuse for us to store the print copies in the warehouse for a month or two before venturing into marketing and distribution. The reality of such exhausting stretch of time in the production process was for a long while the reason why people kept stuck in conversation and never got into doing.

+ + Creating digital networks for translation + +

The connection that is formed between the writer and publisher is quite important, but the connection formed with reader is also crucial. We know by now that there are people across the continent and in the diaspora who believe in the importance of marginalised languages. Perhaps in their love for the translated stories and the process of translation, they too will be inspired to write and translate. In practise, this + +collective effort will call for a continuous and growing engagement with multi-linguistic storytelling practices. Vigorous social media campaigns and the sharing of the work in all possible media will enhance such reciprocal relations. Also the collaboration with universities and other learning institutions, can create interest or integrate the idea of African languages in research and teaching practises. + +We find it especially important that children grow up with multi-lingual content and digital facilities will make access possible at a minimal cost. We believe that a generation of young people with a passion for their languages, whatever these languages may be, will be here to hold this vision together for a very long time. To grow that generation we must continue to encourage those among us with the intellectual facilities and various experiences to participate in projects such as the Jalada translations issue. New translators will get the space to experiment with their abilities. + +And those who have already made attempts in prior translation issues will have the opportunity to continue in a supportive environment that allows their talents to grow.

+ +

An important step in executing such a practical approach in the area of translations is to keep a good connection between different players: the writers who are interested in different languages, the translators who value the great power in the stories, and the various publishers who have demonstrated their willingness to disseminate these works further and further. This would not be possible without the connections and collaborative processes we have put in place. + +At the heart of our practical vision lies a growing network of connections, without which ideas would remain mere ideas. Adapting the structure of digital media – as a web of connections – onto our way of working allows for the perseverance and sharing of our valued resources: languages and the knowledge they carry.

+The Future is Multi-lingual +

However, despite the crucial importance of digital platforms we have seen that the work can grow into more than digitally published pieces once they have reached a widespread audience. From its digital space, Ngũgi wa Thiong’o‘s story has been adapted for the stage on several occasions. Each dramatization celebrated the power of + +cultural diversity in imagining better worlds. Secondly, the story has also gone into print. In Sweden, as a children book; for the occasion of the Mboka Festival of Arts Culture and Sport in three Gambian Languages (Wolof, Mandika, and Fula); and publishers across Spain will print editions in Spanish, Catalan, Galician, Basque, Bable, and Occitan. From digital to stage, to print and then back into the digital realm: In India, a print publication of a translation in Kannada, a Dravidian language, was later republished in an Indian online magazine that reached a few million readers. In the USA, the story was nominated for a project that aims to make short digital eBooks available on the subway for a year. + +There are more than six thousand nine hundred more languages across the world, and so the story travels. In the future, we hope to see the translators that we work with move on to bigger challenges. For them to take up translation of fictional and non-fiction books. While shorter works can be read much more easily online, actual books may require print publication, and in this sense, + +the digital and the analogue co-exist in mutual advantage.

+ +

Over the course of ten years we envision having ongoing translations of about ten different stories. With each story translated into a hundred or more languages, we will have made it a + +normal practise to write and translate into and between African Languages. With this practice comes the idea of conversation between the languages as they appear alongside each other. The beauty is in the use of any known language anywhere in the world with confidence and the faith in the good of what is your own, and respecting the faith and confidence of the other in using and celebrating what is theirs.

+ +

And this is the future: a place for practical visionaries. A time of multilingual pride and connections that know no boundaries between writers, publishers, and readers. When we act out our ideas, the future will smash the difficulty of access through digital technologies; the exclusion of languages through translations; and the limitations of opportunities through the growth of collective work. We will wake up one day soon and feel the light of possibility shine upon our faces. And because the ‘Upright Revolution’ of digital innovation is inevitable, the publisher, the writer, the translator and the reader – + + wants the works to survive and remain relevant – must find ways of taking advantage of the digital technologies at their disposal.

+ + `; + + var ciccio = ciccio.split(" "); + var cicciolen= ciccio.length; + var z; + var ids = []; + + for(z=0; z < cicciolen; z++){ + if (ciccio[z].includes("id=")){ + ids.push(ciccio[z].replace("id=","").replace(/["]/g,"")); + }; +}; + +// console.log(ids) + + + + var variables = "" + var i; + // for (i = 0; i<27 ; i++){ + // variables += `\n\ \n\ var varia`+i+` = document.getElementById("`+ids[i]+`"); \n\ + // let c`+i+`x = varia`+i+`.offsetLeft + varia`+i+`.offsetWidth / 2; \n\ + // let c`+i+`y= varia`+i+`.offsetTop + varia`+i+`.offsetHeight / 2;` + // } + + + for (i = 0; i<30 ; i++){ + variables += `\n\ \n\ + var varia`+i+` = document.getElementById("`+ids[i]+`"); + var varia`+i+i+i+` = document.getElementById("`+ids[i]+`-r"); \n\ + let c`+i+`x = varia`+i+`.offsetLeft + varia`+i+`.offsetWidth / 4; \n\ + let c`+i+`y= varia`+i+`.offsetTop + varia`+i+`.offsetHeight / 2; \n\ + let c`+i+i+i+`x = varia`+i+i+i+`.offsetLeft + varia`+i+i+i+`.offsetWidth / 4; \n\ + let c`+i+i+i+`y= varia`+i+i+i+`.offsetTop + varia`+i+i+i+`.offsetHeight / 2;` + } + + // for (i = 0; i<30 ; i++){ + // variables += `\n\ \n\ + // var varia`+i+` = document.getElementById("`+ids[i]+`").getBoundingClientRect(); + // var varia`+i+i+i+` = document.getElementById("`+ids[i]+`-r").getBoundingClientRect(); \n\ + // var c`+i+`x = varia`+i+`.left; + // var c`+i+`y= varia`+i+`.top; + // var c`+i+i+i+`x = varia`+i+`.left; + // var c`+i+i+i+`y= varia`+i+`.top;` } + + // console.log(variables) + + + + + var varia0 = document.getElementById("focus-one"); + var varia000 = document.getElementById("focus-one-r"); + + let c0x = varia0.offsetLeft + varia0.offsetWidth / 4; + let c0y= varia0.offsetTop + varia0.offsetHeight / 2; + let c000x = varia000.offsetLeft + varia000.offsetWidth / 4; + let c000y= varia000.offsetTop + varia000.offsetHeight / 2; + + + var varia1 = document.getElementById("feed-africa-one"); + var varia111 = document.getElementById("feed-africa-one-r"); + + let c1x = varia1.offsetLeft + varia1.offsetWidth /10 ; + let c1y= varia1.offsetTop + varia1.offsetHeight; + let c111x = varia111.offsetLeft + varia111.offsetWidth / 4; + let c111y= varia111.offsetTop + varia111.offsetHeight / 2; + + + var varia2 = document.getElementById("feed-langeq"); + var varia222 = document.getElementById("feed-langeq-r"); + + let c2x = varia2.offsetLeft + varia2.offsetWidth ; + let c2y= varia2.offsetTop + varia2.offsetHeight / 4; + let c222x = varia222.offsetLeft + varia222.offsetWidth / 4; + let c222y= varia222.offsetTop + varia222.offsetHeight / 2; + + + var varia3 = document.getElementById("feed-counterhegemonic"); + var varia333 = document.getElementById("feed-counterhegemonic-r"); + + let c3x = varia3.offsetLeft + varia3.offsetWidth / 4; + let c3y= varia3.offsetTop + varia3.offsetHeight / 2; + let c333x = varia333.offsetLeft + varia333.offsetWidth / 4; + let c333y= varia333.offsetTop + varia333.offsetHeight / 2; + + + var varia4 = document.getElementById("feed-senegal"); + var varia444 = document.getElementById("feed-senegal-r"); + + let c4x = varia4.offsetLeft + varia4.offsetWidth / 4; + let c4y= varia4.offsetTop + varia4.offsetHeight / 2; + let c444x = varia444.offsetLeft + varia444.offsetWidth / 4; + let c444y= varia444.offsetTop + varia444.offsetHeight / 2; + + + var varia5 = document.getElementById("focus-europ-one"); + var varia555 = document.getElementById("focus-europ-one-r"); + + let c5x = varia5.offsetLeft + varia5.offsetWidth / 4; + let c5y= varia5.offsetTop + varia5.offsetHeight / 2; + let c555x = varia555.offsetLeft + varia555.offsetWidth / 4; + let c555y= varia555.offsetTop + varia555.offsetHeight / 2; + + + var varia6 = document.getElementById("focus-europ-two"); + var varia666 = document.getElementById("focus-europ-two-r"); + + let c6x = varia6.offsetLeft + varia6.offsetWidth / 4; + let c6y= varia6.offsetTop + varia6.offsetHeight / 2; + let c666x = varia666.offsetLeft + varia666.offsetWidth / 4; + let c666y= varia666.offsetTop + varia666.offsetHeight / 2; + + + var varia7 = document.getElementById("focus-learnafricans"); + var varia777 = document.getElementById("focus-learnafricans-r"); + + let c7x = varia7.offsetLeft + varia7.offsetWidth / 4; + let c7y= varia7.offsetTop + varia7.offsetHeight / 2; + let c777x = varia777.offsetLeft + varia777.offsetWidth / 4; + let c777y= varia777.offsetTop + varia777.offsetHeight / 2; + + + var varia8 = document.getElementById("website-salta"); + var varia888 = document.getElementById("website-salta-r"); + + let c8x = varia8.offsetLeft + varia8.offsetWidth / 4; + let c8y= varia8.offsetTop + varia8.offsetHeight / 2; + let c888x = varia888.offsetLeft + varia888.offsetWidth / 4; + let c888y= varia888.offsetTop + varia888.offsetHeight / 2; + + + var varia9 = document.getElementById("focus-term"); + var varia999 = document.getElementById("focus-term-r"); + + let c9x = varia9.offsetLeft + (varia9.offsetWidth / 4); + let c9y= varia9.offsetTop + (varia9.offsetHeight / 2); + let c999x = varia999.offsetLeft + varia999.offsetWidth / 2; + let c999y= varia999.offsetTop + varia999.offsetHeight / 2; + + + var varia10 = document.getElementById("feed-net-one"); + var varia101010 = document.getElementById("feed-net-one-r"); + + let c10x = varia10.offsetLeft + varia10.offsetWidth / 4; + let c10y= varia10.offsetTop + varia10.offsetHeight / 2; + let c101010x = varia101010.offsetLeft + varia101010.offsetWidth / 4; + let c101010y= varia101010.offsetTop + varia101010.offsetHeight / 2; + + + var varia11 = document.getElementById("feed-scheme-wrp"); + var varia111111 = document.getElementById("feed-scheme-wrp-r"); + + let c11x = varia11.offsetLeft + varia11.offsetWidth / 4; + let c11y= varia11.offsetTop + varia11.offsetHeight / 2; + let c111111x = varia111111.offsetLeft + varia111111.offsetWidth / 4; + let c111111y= varia111111.offsetTop + varia111111.offsetHeight / 2; + + + var varia12 = document.getElementById("feed-net-two"); + var varia121212 = document.getElementById("feed-net-two-r"); + + let c12x = varia12.offsetLeft + varia12.offsetWidth / 4; + let c12y= varia12.offsetTop + varia12.offsetHeight / 2; + let c121212x = varia121212.offsetLeft + varia121212.offsetWidth / 4; + let c121212y= varia121212.offsetTop + varia121212.offsetHeight / 2; + + + var varia13 = document.getElementById("feed-net-three"); + var varia131313 = document.getElementById("feed-net-three-r"); + + let c13x = varia13.offsetLeft + varia13.offsetWidth / 4; + let c13y= varia13.offsetTop + varia13.offsetHeight / 2; + let c131313x = varia131313.offsetLeft + varia131313.offsetWidth / 4; + let c131313y= varia131313.offsetTop + varia131313.offsetHeight / 2; + + + var varia14 = document.getElementById("focus-turningideas"); + var varia141414 = document.getElementById("focus-turningideas-r"); + + let c14x = varia14.offsetLeft + varia14.offsetWidth / 4; + let c14y= varia14.offsetTop + varia14.offsetHeight / 2; + let c141414x = varia141414.offsetLeft + varia141414.offsetWidth / 4; + let c141414y= varia141414.offsetTop + varia141414.offsetHeight / 2; + + + var varia15 = document.getElementById("feed-coll-net-one"); + var varia151515 = document.getElementById("feed-coll-net-one-r"); + + let c15x = varia15.offsetLeft + varia15.offsetWidth / 4; + let c15y= varia15.offsetTop + varia15.offsetHeight / 2; + let c151515x = varia151515.offsetLeft + varia151515.offsetWidth / 4; + let c151515y= varia151515.offsetTop + varia151515.offsetHeight / 2; + + + var varia16 = document.getElementById("feed-coll-net-two"); + var varia161616 = document.getElementById("feed-coll-net-two-r"); + + let c16x = varia16.offsetLeft + varia16.offsetWidth / 4; + let c16y= varia16.offsetTop + varia16.offsetHeight / 2; + let c161616x = varia161616.offsetLeft + varia161616.offsetWidth / 4; + let c161616y= varia161616.offsetTop + varia161616.offsetHeight / 2; + + + var varia17 = document.getElementById("focus-multilang"); + var varia171717 = document.getElementById("focus-multilang-r"); + + let c17x = varia17.offsetLeft + varia17.offsetWidth / 4; + let c17y= varia17.offsetTop + varia17.offsetHeight / 2; + let c171717x = varia171717.offsetLeft + varia171717.offsetWidth / 4; + let c171717y= varia171717.offsetTop + varia171717.offsetHeight / 2; + + + var varia18 = document.getElementById("feed-coll-net-three"); + var varia181818 = document.getElementById("feed-coll-net-three-r"); + + let c18x = varia18.offsetLeft + varia18.offsetWidth / 4; + let c18y= varia18.offsetTop + varia18.offsetHeight / 2; + let c181818x = varia181818.offsetLeft + varia181818.offsetWidth / 4; + let c181818y= varia181818.offsetTop + varia181818.offsetHeight / 2; + + + var varia19 = document.getElementById("feed-coll-net-four"); + var varia191919 = document.getElementById("feed-coll-net-four-r"); + + let c19x = varia19.offsetLeft + varia19.offsetWidth / 4; + let c19y= varia19.offsetTop + varia19.offsetHeight / 2; + let c191919x = varia191919.offsetLeft + varia191919.offsetWidth / 4; + let c191919y= varia191919.offsetTop + varia191919.offsetHeight / 2; + + + var varia20 = document.getElementById("the-future-is-multi-lingual"); + var varia202020 = document.getElementById("the-future-is-multi-lingual-r"); + + let c20x = varia20.offsetLeft + varia20.offsetWidth / 4; + let c20y= varia20.offsetTop + varia20.offsetHeight / 2; + let c202020x = varia202020.offsetLeft + varia202020.offsetWidth / 4; + let c202020y= varia202020.offsetTop + varia202020.offsetHeight / 2; + + + var varia21 = document.getElementById("focus-infograph"); + var varia212121 = document.getElementById("focus-infograph-r"); + + let c21x = varia21.offsetLeft + varia21.offsetWidth / 4; + let c21y= varia21.offsetTop + varia21.offsetHeight / 2; + let c212121x = varia212121.offsetLeft + varia212121.offsetWidth / 4; + let c212121y= varia212121.offsetTop + varia212121.offsetHeight / 2; + + + var varia22 = document.getElementById("main-statement"); + var varia222222 = document.getElementById("main-statement-r"); + + let c22x = varia22.offsetLeft + varia22.offsetWidth / 4; + let c22y= varia22.offsetTop + varia22.offsetHeight / 2; + let c222222x = varia222222.offsetLeft + varia222222.offsetWidth / 4; + let c222222y= varia222222.offsetTop + varia222222.offsetHeight / 2; + + + var varia23 = document.getElementById("feed-coll-net-five"); + var varia232323 = document.getElementById("feed-coll-net-five-r"); + + let c23x = varia23.offsetLeft + varia23.offsetWidth / 4; + let c23y= varia23.offsetTop + varia23.offsetHeight / 2; + let c232323x = varia232323.offsetLeft + varia232323.offsetWidth / 4; + let c232323y= varia232323.offsetTop + varia232323.offsetHeight / 2; + + + var varia24 = document.getElementById("focus-end"); + var varia242424 = document.getElementById("focus-end-r"); + + let c24x = varia24.offsetLeft + varia24.offsetWidth / 4; + let c24y= varia24.offsetTop + varia24.offsetHeight / 2; + let c242424x = varia242424.offsetLeft + varia242424.offsetWidth / 4; + let c242424y= varia242424.offsetTop + varia242424.offsetHeight / 2; + + + var varia25 = document.getElementById("feed-bot"); + var varia252525 = document.getElementById("feed-bot-r"); + + let c25x = varia25.offsetLeft + varia25.offsetWidth / 2; + let c25y= varia25.offsetTop + varia25.offsetHeight / 2; + let c252525x = varia252525.offsetLeft + varia252525.offsetWidth / 2; + let c252525y= varia252525.offsetTop + varia252525.offsetHeight / 2; + + + var varia26 = document.getElementById("engl"); + + let cenglx = varia26.offsetLeft + varia26.offsetWidth / 2; + let cengly= varia26.offsetTop + varia26.offsetHeight / 2; + + var varia27 = document.getElementById("barsa"); + + let cbx = varia27.offsetLeft + varia27.offsetWidth / 2; + let cby= varia27.offsetTop + varia27.offsetHeight / 2; + + + var varia28 = document.getElementById("tradu"); + + let cx = varia28.offsetLeft + varia28.offsetWidth / 2; + let cy= varia28.offsetTop + varia28.offsetHeight / 2; + + var varia29 = document.getElementById("tradu-pre"); + + let cpx = varia29.offsetLeft + varia29.offsetWidth / 2; + let cpy= varia29.offsetTop + varia29.offsetHeight / 2; + + + + var variablesP5 = "" + var i; + for (i = 0; i<26 ; i = i+2){ + variablesP5 += + + `scribble.scribbleEllipse(c`+i+`x, c`+i+`y,200,30); + scribble.scribbleLine(c`+i+`x, c`+i+`y, c`+i+i+i +`x, c`+i+i+i +`y); + stroke( 255, 27, 198, 50); \n \n` + + } + + for (i = 1; i<26 ; i = i+2){ + variablesP5 += + + `scribble.scribbleEllipse(c`+i+`x, c`+i+`y,200,30); + scribble.scribbleLine(c`+i+`x, c`+i+`y, c`+i+i+i +`x, c`+i+i+i +`y); + stroke(13, 244, 111, 50 );\n \n` + } + + console.log(variablesP5) + + + +// function windowResized(){ +// // resizeCanvas(totW, totH); +// resizeCanvas(2029,11205.671875); +// // console.log(totW,totH) +// } + +var scribble = new Scribble(); +scribble.roughness = 1.5; +scribble.bowing = 0.1; +scribble.numEllipseSteps = 1 + + var totW = document.body.getBoundingClientRect().width + var totH = document.body.getBoundingClientRect().height + +console.log(totW,totH) + +function setup(){ + + var canvas = createCanvas(totW, totH); + canvas.position(0,0); + canvas.style('z-index','-10'); + + + strokeWeight( 5 ); + noFill(); + + stroke(13, 244, 111, 40 ); + scribble.scribbleEllipse(cenglx-120, cengly,720,220); + strokeWeight(2 ); + stroke(255,105,180, 40 ); + scribble.scribbleEllipse(cenglx-115, cengly,710,180); + scribble.scribbleEllipse(cbx,cby+170,280,50); + scribble.scribbleLine(cbx+170, cby+180, cenglx-300, cengly); + + stroke(255,105,180, 40 ); + + strokeWeight(2 ); + + stroke(13, 244, 111, 60 ); + scribble.scribbleEllipse(cpx, cpy,200,30); + scribble.scribbleLine(cx,cy,cpx,cpy); + + + + + noFill(); + strokeWeight( 2 ); + + stroke(13, 244, 111, 60 ); + scribble.scribbleEllipse(c0x, c0y,200,30); + scribble.scribbleLine(c0x, c0y, c000x, c000y); + + +scribble.scribbleEllipse(c2x, c2y,200,30); + scribble.scribbleLine(c2x, c2y, c222x, c222y); + + +scribble.scribbleEllipse(c4x, c4y,200,30); + scribble.scribbleLine(c4x, c4y, c444x, c444y); + + +scribble.scribbleEllipse(c6x, c6y,200,30); + scribble.scribbleLine(c6x, c6y, c666x, c666y); + + +scribble.scribbleEllipse(c8x, c8y,200,30); + scribble.scribbleLine(c8x, c8y, c888x, c888y); + + +scribble.scribbleEllipse(c10x, c10y,200,30); + scribble.scribbleLine(c10x, c10y, c101010x, c101010y); + + +scribble.scribbleEllipse(c12x, c12y,200,30); + scribble.scribbleLine(c12x, c12y, c121212x, c121212y); + + +scribble.scribbleEllipse(c14x, c14y,200,30); + scribble.scribbleLine(c14x, c14y, c141414x, c141414y); + + +scribble.scribbleEllipse(c16x, c16y+55,200,30); + scribble.scribbleLine(c16x, c16y+55, c161616x, c161616y); + + +scribble.scribbleEllipse(c18x, c18y+55,200,30); + scribble.scribbleLine(c18x, c18y+55, c181818x, c181818y); + +stroke(255,105,180, 40 ); +scribble.scribbleEllipse(c20x, c20y+55,300,40); + scribble.scribbleLine(c20x, c20y+55, c202020x, c202020y); + + stroke(13, 244, 111, 60 ); + +scribble.scribbleEllipse(c22x, c22y+55,200,30); + scribble.scribbleLine(c22x, c22y+55, c222222x, c222222y); + + +scribble.scribbleEllipse(c24x, c24y+55,200,30); + scribble.scribbleLine(c24x, c24y+55, c242424x, c242424y); + + +scribble.scribbleEllipse(c1x, c1y,200,30); + scribble.scribbleLine(c1x, c1y, c111x, c111y); + + +scribble.scribbleEllipse(c3x, c3y,200,30); + scribble.scribbleLine(c3x, c3y, c333x, c333y); + + +scribble.scribbleEllipse(c5x, c5y,200,30); + scribble.scribbleLine(c5x, c5y, c555x, c555y); + + +scribble.scribbleEllipse(c7x, c7y,200,30); + scribble.scribbleLine(c7x, c7y, c777x, c777y); + + +scribble.scribbleEllipse(c9x, c9y,200,30); + scribble.scribbleLine(c9x, c9y, c999x, c999y); + + +scribble.scribbleEllipse(c11x, c11y,200,30); + scribble.scribbleLine(c11x, c11y, c111111x, c111111y); + + +scribble.scribbleEllipse(c13x, c13y,200,30); + scribble.scribbleLine(c13x, c13y, c131313x, c131313y); + + +scribble.scribbleEllipse(c15x, c15y+55,200,30); + scribble.scribbleLine(c15x, c15y+55, c151515x, c151515y); + + +scribble.scribbleEllipse(c17x, c17y+55,200,30); + scribble.scribbleLine(c17x, c17y+55, c171717x, c171717y); + + +scribble.scribbleEllipse(c19x, c19y+55,200,30); + scribble.scribbleLine(c19x, c19y+55, c191919x, c191919y); + + +scribble.scribbleEllipse(c21x, c21y+55,200,30); + scribble.scribbleLine(c21x, c21y+55, c212121x, c212121y); + +scribble.scribbleEllipse(c23x, c23y+55,200,30); + scribble.scribbleLine(c23x, c23y+55, c232323x, c232323y); + + +scribble.scribbleEllipse(c25x, c25y+55,200,30); + scribble.scribbleLine(c25x, c25y+55, c252525x, c252525y); + + + +} + +function draw(){ + +} + + + //} + +//document.addEventListener("DOMContentLoaded", go); \ No newline at end of file diff --git a/PRACTICAL_VISION/scripts/visions.js b/PRACTICAL_VISION/scripts/visions.js new file mode 100644 index 0000000..2c1ad4d --- /dev/null +++ b/PRACTICAL_VISION/scripts/visions.js @@ -0,0 +1,80 @@ + +const app = new PIXI.Application({ transparent: true, width: innerWidth, height: innerHeight}); +document.body.appendChild(app.view); + + +// holder to store the aliens +const aliens = []; + +const totalDudes = 25; + +for (let i = 0; i < totalDudes; i++) { + // create a new Sprite that uses the image name that we just generated as its source + const dude = PIXI.Sprite.from('../assets/practical2.png'); + + // set the anchor point so the texture is centerd on the sprite + // dude.anchor.set(); + + // set a random scale for the dude - no point them all being the same size! + dude.scale.set( 0.03 + Math.random() * 0.8); + + // finally lets set the dude to be at a random position.. + dude.x = Math.random() * app.screen.width; + dude.y = Math.random() * app.screen.height; + + // dude.tint = 0xFF00FF; + + // create some extra properties that will control movement : + // create a random direction in radians. This is a number between 0 and PI*2 which is the equivalent of 0 - 360 degrees + dude.direction = Math.random() * Math.PI * 2; + + // this number will be used to modify the direction of the dude over time + dude.turningSpeed = Math.random() ; + + // create a random speed for the dude between 2 - 4 + dude.speed = 2 + Math.random(); + + // finally we push the dude into the aliens array so it it can be easily accessed later + aliens.push(dude); + + app.stage.addChild(dude); +} + +// create a bounding box for the little dudes +const dudeBoundsPadding = 1; +const dudeBounds = new PIXI.Rectangle(-dudeBoundsPadding, + -dudeBoundsPadding, + app.screen.width + dudeBoundsPadding * 2, + app.screen.height + dudeBoundsPadding * 5); + +app.ticker.add(() => { + // iterate through the dudes and update their position + for (let i = 0; i < aliens.length; i++) { + const dude = aliens[i]; + dude.direction += dude.turningSpeed * 0.03; + dude.x += Math.sin(dude.direction) * dude.direction; + dude.y += Math.cos(dude.direction) * dude.speed *0.2; + dude.rotation = dude.direction - Math.PI * 0.3; + + // wrap the dudes by testing their bounds... + if (dude.x < dudeBounds.x) { + dude.x += dudeBounds.width; + } else if (dude.x > dudeBounds.x + dudeBounds.width) { + dude.x -= dudeBounds.width; + } + + // if (dude.y < dudeBounds.y) { + // dude.y += dudeBounds.height; + // } else if (dude.y > dudeBounds.y + dudeBounds.height) { + // dude.y -= dudeBounds.height; + // } + } +}); +const style = new PIXI.TextStyle({ + fill: [ + "#00f900", + "#00f900" + ], + fontFamily: "Arial Black" +}); +const text = new PIXI.Text('QUESTO E\' LA PROVA', style); diff --git a/PRACTICAL_VISION/style.css b/PRACTICAL_VISION/style.css new file mode 100644 index 0000000..6fe5eba --- /dev/null +++ b/PRACTICAL_VISION/style.css @@ -0,0 +1,231 @@ +* { + box-sizing: border-box; + } + + +@font-face { + font-family: "CothamSans"; + src: url("./assets/fonts/CothamSans.otf"); +} + +@font-face { + font-family: "Mazius"; + src: url("./assets/fonts/MAZIUSREVIEW20.09-Extraitalic.woff"); +} + + +@font-face { +font-family: "Porpora"; +src: url("./assets/fonts/Porpora-Regular.woff"); +} + +@font-face { +font-family: "Sinistre"; +src: url("./assets/fonts/Sinistre-StCaroline.woff"); +} + +@font-face { + font-family: "HKGrotesk"; + src: url("./assets/fonts/HKGrotesk-Regular.woff"); + } + +@font-face { + font-family: "HKGrotesk-Light"; + src: url("./assets/fonts/HKGrotesk-Light.otf"); + } + +@font-face { + font-family: "wftfs-Regular"; + src: url("./assets/fonts/wftfs-Regular.otf"); + } + +:root{ + font-family: "HKGrotesk"; + + + --regular: 16px; + --focus: 24px; + --focus2: 48px; + --title: 150px; + --footnote: 14px; + --subtitle: 32px; + + --inl-reg: 20px; + --inl-foot: 14px; + + --pink: #ff1493; + --green: #0DF46F; + --green-tit: #0DF46F80; +} + + +html, body { + margin: 0; + padding: 0; + max-width: 100%; + min-height: 100vh; +} + +button{ + z-index: 20000; +} + +img{ + width: 30%; +} + +div{ + align-self: center; + justify-self: center; +} + +.container{ + display: grid; + z-index: -100; + justify-items: center; + grid-template-columns: auto auto auto; + justify-content: center; + margin-left: 50%; +} + + +#img1{ + animation: infinite cycle1 3s; + margin-left: 50%; +} + +#img2{ + animation: infinite cycle2 3s; +} + +#img3{ + animation: infinite cycle3 3s ; +} + + +#descriptio{ + width: 30%; + margin-left: 60%; + z-index: 20; + border: var(--green) solid 3px; + background-color: rgba(0,255,0,.05); +} + +#descriptio p { + padding: 0 1vw; + color: var(--green) +} + + +#tradu{ + width: 30%; + margin-left: 60%; + z-index: 20; + border: var(--green) solid 3px; + background-color: rgba(0,255,0,.05); + text-align: right; + margin-right:50px; +} + +#tradu span{ + + line-height: 27px +} + +#tradu .pico{ + font-size:var(--regular); + font-family: "Sinistre"; +} + +#tradu .primo{ + color: var(--green); + font-family: "Mazius"; + font-size:var(--focus2); + +} + +#tradu .secondo{ + color: var(--purple); + font-size:var(--focus2); + font-family: "Porpora"; +} + + + +#telegram{ + text-align: right; + border: var(--pink) solid 3px; + background-color: rgba(250,20,150,.05); + width: 30%; + margin-left: 60%; + margin-top: 30%; + z-index: 20; + + +} + + + +#telegram p a{ + font-size: var(--focus); + line-height: 80px; + text-align: right; + margin-right: 200px; + padding: 1vw; + +} + +#telegram p{ + color: var(--pink); +font-size:var(--regular); +line-height: 20px; + margin:0; + padding-left: 20px +} + +#telegram:nth-child(0){ + color: var(--pink); + font-size: 100px; + line-height: 48px; +} + +#telegram .link{ + font-size: var(--focus); + color: var(--green); + margin: 24px 0 +} + +#telegram span{ + font-size:var(--focus); + color: var(--purple); + font-family: "Sinistre" +} + +#telegram i { + font-family: "HKGrotesk-Light"; + font-size:var(--focus); + color: var(--purple); +} + +#telegram .v{ + color: var(--green) +} + + +@keyframes cycle1 { + 0% { transform: rotate(88deg); margin-left: 50%;} + 50% {transform: rotate(121deg); margin-left: 50%;} + 99% {transform: rotate(88deg); margin-left: 50%;} +} + +@keyframes cycle2 { + 0% { transform: rotate(1deg)} + 50% {transform: rotate(33deg)} + 99% {transform: rotate(1deg);} +} + +@keyframes cycle3 { + 0% { transform: rotate(185deg)} + 50% {transform: rotate(151deg)} + 99% {transform: rotate(185deg);} +} \ No newline at end of file diff --git a/RESURGENCE/GLTFLoader/GLTFLoader.js b/RESURGENCE/GLTFLoader/GLTFLoader.js new file mode 100644 index 0000000..fbfc574 --- /dev/null +++ b/RESURGENCE/GLTFLoader/GLTFLoader.js @@ -0,0 +1,3768 @@ +import { + AnimationClip, + Bone, + Box3, + BufferAttribute, + BufferGeometry, + CanvasTexture, + ClampToEdgeWrapping, + Color, + DirectionalLight, + DoubleSide, + FileLoader, + FrontSide, + Group, + ImageBitmapLoader, + InterleavedBuffer, + InterleavedBufferAttribute, + Interpolant, + InterpolateDiscrete, + InterpolateLinear, + Line, + LineBasicMaterial, + LineLoop, + LineSegments, + LinearFilter, + LinearMipmapLinearFilter, + LinearMipmapNearestFilter, + Loader, + LoaderUtils, + Material, + MathUtils, + Matrix4, + Mesh, + MeshBasicMaterial, + MeshPhysicalMaterial, + MeshStandardMaterial, + MirroredRepeatWrapping, + NearestFilter, + NearestMipmapLinearFilter, + NearestMipmapNearestFilter, + NumberKeyframeTrack, + Object3D, + OrthographicCamera, + PerspectiveCamera, + PointLight, + Points, + PointsMaterial, + PropertyBinding, + QuaternionKeyframeTrack, + RGBFormat, + RepeatWrapping, + Skeleton, + SkinnedMesh, + Sphere, + SpotLight, + TangentSpaceNormalMap, + TextureLoader, + TriangleFanDrawMode, + TriangleStripDrawMode, + Vector2, + Vector3, + VectorKeyframeTrack, + sRGBEncoding +} from "./js/three/build/three.module.js"; + +var GLTFLoader = ( function () { + + function GLTFLoader( manager ) { + + Loader.call( this, manager ); + + this.dracoLoader = null; + this.ddsLoader = null; + this.ktx2Loader = null; + + this.pluginCallbacks = []; + + this.register( function ( parser ) { + + return new GLTFMaterialsClearcoatExtension( parser ); + + } ); + + this.register( function ( parser ) { + + return new GLTFTextureBasisUExtension( parser ); + + } ); + + this.register( function ( parser ) { + + return new GLTFMaterialsTransmissionExtension( parser ); + + } ); + + this.register( function ( parser ) { + + return new GLTFLightsExtension( parser ); + + } ); + + } + + GLTFLoader.prototype = Object.assign( Object.create( Loader.prototype ), { + + constructor: GLTFLoader, + + load: function ( url, onLoad, onProgress, onError ) { + + var scope = this; + + var resourcePath; + + if ( this.resourcePath !== '' ) { + + resourcePath = this.resourcePath; + + } else if ( this.path !== '' ) { + + resourcePath = this.path; + + } else { + + resourcePath = LoaderUtils.extractUrlBase( url ); + + } + + // Tells the LoadingManager to track an extra item, which resolves after + // the model is fully loaded. This means the count of items loaded will + // be incorrect, but ensures manager.onLoad() does not fire early. + this.manager.itemStart( url ); + + var _onError = function ( e ) { + + if ( onError ) { + + onError( e ); + + } else { + + console.error( e ); + + } + + scope.manager.itemError( url ); + scope.manager.itemEnd( url ); + + }; + + var loader = new FileLoader( this.manager ); + + loader.setPath( this.path ); + loader.setResponseType( 'arraybuffer' ); + loader.setRequestHeader( this.requestHeader ); + loader.setWithCredentials( this.withCredentials ); + + loader.load( url, function ( data ) { + + try { + + scope.parse( data, resourcePath, function ( gltf ) { + + onLoad( gltf ); + + scope.manager.itemEnd( url ); + + }, _onError ); + + } catch ( e ) { + + _onError( e ); + + } + + }, onProgress, _onError ); + + }, + + setDRACOLoader: function ( dracoLoader ) { + + this.dracoLoader = dracoLoader; + return this; + + }, + + setDDSLoader: function ( ddsLoader ) { + + this.ddsLoader = ddsLoader; + return this; + + }, + + setKTX2Loader: function ( ktx2Loader ) { + + this.ktx2Loader = ktx2Loader; + return this; + + }, + + register: function ( callback ) { + + if ( this.pluginCallbacks.indexOf( callback ) === - 1 ) { + + this.pluginCallbacks.push( callback ); + + } + + return this; + + }, + + unregister: function ( callback ) { + + if ( this.pluginCallbacks.indexOf( callback ) !== - 1 ) { + + this.pluginCallbacks.splice( this.pluginCallbacks.indexOf( callback ), 1 ); + + } + + return this; + + }, + + parse: function ( data, path, onLoad, onError ) { + + var content; + var extensions = {}; + var plugins = {}; + + if ( typeof data === 'string' ) { + + content = data; + + } else { + + var magic = LoaderUtils.decodeText( new Uint8Array( data, 0, 4 ) ); + + if ( magic === BINARY_EXTENSION_HEADER_MAGIC ) { + + try { + + extensions[ EXTENSIONS.KHR_BINARY_GLTF ] = new GLTFBinaryExtension( data ); + + } catch ( error ) { + + if ( onError ) onError( error ); + return; + + } + + content = extensions[ EXTENSIONS.KHR_BINARY_GLTF ].content; + + } else { + + content = LoaderUtils.decodeText( new Uint8Array( data ) ); + + } + + } + + var json = JSON.parse( content ); + + if ( json.asset === undefined || json.asset.version[ 0 ] < 2 ) { + + if ( onError ) onError( new Error( 'THREE.GLTFLoader: Unsupported asset. glTF versions >=2.0 are supported.' ) ); + return; + + } + + var parser = new GLTFParser( json, { + + path: path || this.resourcePath || '', + crossOrigin: this.crossOrigin, + manager: this.manager, + ktx2Loader: this.ktx2Loader + + } ); + + parser.fileLoader.setRequestHeader( this.requestHeader ); + + for ( var i = 0; i < this.pluginCallbacks.length; i ++ ) { + + var plugin = this.pluginCallbacks[ i ]( parser ); + plugins[ plugin.name ] = plugin; + + // Workaround to avoid determining as unknown extension + // in addUnknownExtensionsToUserData(). + // Remove this workaround if we move all the existing + // extension handlers to plugin system + extensions[ plugin.name ] = true; + + } + + if ( json.extensionsUsed ) { + + for ( var i = 0; i < json.extensionsUsed.length; ++ i ) { + + var extensionName = json.extensionsUsed[ i ]; + var extensionsRequired = json.extensionsRequired || []; + + switch ( extensionName ) { + + case EXTENSIONS.KHR_MATERIALS_UNLIT: + extensions[ extensionName ] = new GLTFMaterialsUnlitExtension(); + break; + + case EXTENSIONS.KHR_MATERIALS_PBR_SPECULAR_GLOSSINESS: + extensions[ extensionName ] = new GLTFMaterialsPbrSpecularGlossinessExtension(); + break; + + case EXTENSIONS.KHR_DRACO_MESH_COMPRESSION: + extensions[ extensionName ] = new GLTFDracoMeshCompressionExtension( json, this.dracoLoader ); + break; + + case EXTENSIONS.MSFT_TEXTURE_DDS: + extensions[ extensionName ] = new GLTFTextureDDSExtension( this.ddsLoader ); + break; + + case EXTENSIONS.KHR_TEXTURE_TRANSFORM: + extensions[ extensionName ] = new GLTFTextureTransformExtension(); + break; + + case EXTENSIONS.KHR_MESH_QUANTIZATION: + extensions[ extensionName ] = new GLTFMeshQuantizationExtension(); + break; + + default: + + if ( extensionsRequired.indexOf( extensionName ) >= 0 && plugins[ extensionName ] === undefined ) { + + console.warn( 'THREE.GLTFLoader: Unknown extension "' + extensionName + '".' ); + + } + + } + + } + + } + + parser.setExtensions( extensions ); + parser.setPlugins( plugins ); + parser.parse( onLoad, onError ); + + } + + } ); + + /* GLTFREGISTRY */ + + function GLTFRegistry() { + + var objects = {}; + + return { + + get: function ( key ) { + + return objects[ key ]; + + }, + + add: function ( key, object ) { + + objects[ key ] = object; + + }, + + remove: function ( key ) { + + delete objects[ key ]; + + }, + + removeAll: function () { + + objects = {}; + + } + + }; + + } + + /*********************************/ + /********** EXTENSIONS ***********/ + /*********************************/ + + var EXTENSIONS = { + KHR_BINARY_GLTF: 'KHR_binary_glTF', + KHR_DRACO_MESH_COMPRESSION: 'KHR_draco_mesh_compression', + KHR_LIGHTS_PUNCTUAL: 'KHR_lights_punctual', + KHR_MATERIALS_CLEARCOAT: 'KHR_materials_clearcoat', + KHR_MATERIALS_PBR_SPECULAR_GLOSSINESS: 'KHR_materials_pbrSpecularGlossiness', + KHR_MATERIALS_TRANSMISSION: 'KHR_materials_transmission', + KHR_MATERIALS_UNLIT: 'KHR_materials_unlit', + KHR_TEXTURE_BASISU: 'KHR_texture_basisu', + KHR_TEXTURE_TRANSFORM: 'KHR_texture_transform', + KHR_MESH_QUANTIZATION: 'KHR_mesh_quantization', + MSFT_TEXTURE_DDS: 'MSFT_texture_dds' + }; + + /** + * DDS Texture Extension + * + * Specification: https://github.com/KhronosGroup/glTF/tree/master/extensions/2.0/Vendor/MSFT_texture_dds + * + */ + function GLTFTextureDDSExtension( ddsLoader ) { + + if ( ! ddsLoader ) { + + throw new Error( 'THREE.GLTFLoader: Attempting to load .dds texture without importing DDSLoader' ); + + } + + this.name = EXTENSIONS.MSFT_TEXTURE_DDS; + this.ddsLoader = ddsLoader; + + } + + /** + * Punctual Lights Extension + * + * Specification: https://github.com/KhronosGroup/glTF/tree/master/extensions/2.0/Khronos/KHR_lights_punctual + */ + function GLTFLightsExtension( parser ) { + + this.parser = parser; + this.name = EXTENSIONS.KHR_LIGHTS_PUNCTUAL; + + // Object3D instance caches + this.cache = { refs: {}, uses: {} }; + + } + + GLTFLightsExtension.prototype._markDefs = function () { + + var parser = this.parser; + var nodeDefs = this.parser.json.nodes || []; + + for ( var nodeIndex = 0, nodeLength = nodeDefs.length; nodeIndex < nodeLength; nodeIndex ++ ) { + + var nodeDef = nodeDefs[ nodeIndex ]; + + if ( nodeDef.extensions + && nodeDef.extensions[ this.name ] + && nodeDef.extensions[ this.name ].light !== undefined ) { + + parser._addNodeRef( this.cache, nodeDef.extensions[ this.name ].light ); + + } + + } + + }; + + GLTFLightsExtension.prototype._loadLight = function ( lightIndex ) { + + var parser = this.parser; + var cacheKey = 'light:' + lightIndex; + var dependency = parser.cache.get( cacheKey ); + + if ( dependency ) return dependency; + + var json = parser.json; + var extensions = ( json.extensions && json.extensions[ this.name ] ) || {}; + var lightDefs = extensions.lights || []; + var lightDef = lightDefs[ lightIndex ]; + var lightNode; + + var color = new Color( 0xffffff ); + + if ( lightDef.color !== undefined ) color.fromArray( lightDef.color ); + + var range = lightDef.range !== undefined ? lightDef.range : 0; + + switch ( lightDef.type ) { + + case 'directional': + lightNode = new DirectionalLight( color ); + lightNode.target.position.set( 0, 0, - 1 ); + lightNode.add( lightNode.target ); + break; + + case 'point': + lightNode = new PointLight( color ); + lightNode.distance = range; + break; + + case 'spot': + lightNode = new SpotLight( color ); + lightNode.distance = range; + // Handle spotlight properties. + lightDef.spot = lightDef.spot || {}; + lightDef.spot.innerConeAngle = lightDef.spot.innerConeAngle !== undefined ? lightDef.spot.innerConeAngle : 0; + lightDef.spot.outerConeAngle = lightDef.spot.outerConeAngle !== undefined ? lightDef.spot.outerConeAngle : Math.PI / 4.0; + lightNode.angle = lightDef.spot.outerConeAngle; + lightNode.penumbra = 1.0 - lightDef.spot.innerConeAngle / lightDef.spot.outerConeAngle; + lightNode.target.position.set( 0, 0, - 1 ); + lightNode.add( lightNode.target ); + break; + + default: + throw new Error( 'THREE.GLTFLoader: Unexpected light type, "' + lightDef.type + '".' ); + + } + + // Some lights (e.g. spot) default to a position other than the origin. Reset the position + // here, because node-level parsing will only override position if explicitly specified. + lightNode.position.set( 0, 0, 0 ); + + lightNode.decay = 2; + + if ( lightDef.intensity !== undefined ) lightNode.intensity = lightDef.intensity; + + lightNode.name = parser.createUniqueName( lightDef.name || ( 'light_' + lightIndex ) ); + + dependency = Promise.resolve( lightNode ); + + parser.cache.add( cacheKey, dependency ); + + return dependency; + + }; + + GLTFLightsExtension.prototype.createNodeAttachment = function ( nodeIndex ) { + + var self = this; + var parser = this.parser; + var json = parser.json; + var nodeDef = json.nodes[ nodeIndex ]; + var lightDef = ( nodeDef.extensions && nodeDef.extensions[ this.name ] ) || {}; + var lightIndex = lightDef.light; + + if ( lightIndex === undefined ) return null; + + return this._loadLight( lightIndex ).then( function ( light ) { + + return parser._getNodeRef( self.cache, lightIndex, light ); + + } ); + + }; + + /** + * Unlit Materials Extension + * + * Specification: https://github.com/KhronosGroup/glTF/tree/master/extensions/2.0/Khronos/KHR_materials_unlit + */ + function GLTFMaterialsUnlitExtension() { + + this.name = EXTENSIONS.KHR_MATERIALS_UNLIT; + + } + + GLTFMaterialsUnlitExtension.prototype.getMaterialType = function () { + + return MeshBasicMaterial; + + }; + + GLTFMaterialsUnlitExtension.prototype.extendParams = function ( materialParams, materialDef, parser ) { + + var pending = []; + + materialParams.color = new Color( 1.0, 1.0, 1.0 ); + materialParams.opacity = 1.0; + + var metallicRoughness = materialDef.pbrMetallicRoughness; + + if ( metallicRoughness ) { + + if ( Array.isArray( metallicRoughness.baseColorFactor ) ) { + + var array = metallicRoughness.baseColorFactor; + + materialParams.color.fromArray( array ); + materialParams.opacity = array[ 3 ]; + + } + + if ( metallicRoughness.baseColorTexture !== undefined ) { + + pending.push( parser.assignTexture( materialParams, 'map', metallicRoughness.baseColorTexture ) ); + + } + + } + + return Promise.all( pending ); + + }; + + /** + * Clearcoat Materials Extension + * + * Specification: https://github.com/KhronosGroup/glTF/tree/master/extensions/2.0/Khronos/KHR_materials_clearcoat + */ + function GLTFMaterialsClearcoatExtension( parser ) { + + this.parser = parser; + this.name = EXTENSIONS.KHR_MATERIALS_CLEARCOAT; + + } + + GLTFMaterialsClearcoatExtension.prototype.getMaterialType = function ( materialIndex ) { + + var parser = this.parser; + var materialDef = parser.json.materials[ materialIndex ]; + + if ( ! materialDef.extensions || ! materialDef.extensions[ this.name ] ) return null; + + return MeshPhysicalMaterial; + + }; + + GLTFMaterialsClearcoatExtension.prototype.extendMaterialParams = function ( materialIndex, materialParams ) { + + var parser = this.parser; + var materialDef = parser.json.materials[ materialIndex ]; + + if ( ! materialDef.extensions || ! materialDef.extensions[ this.name ] ) { + + return Promise.resolve(); + + } + + var pending = []; + + var extension = materialDef.extensions[ this.name ]; + + if ( extension.clearcoatFactor !== undefined ) { + + materialParams.clearcoat = extension.clearcoatFactor; + + } + + if ( extension.clearcoatTexture !== undefined ) { + + pending.push( parser.assignTexture( materialParams, 'clearcoatMap', extension.clearcoatTexture ) ); + + } + + if ( extension.clearcoatRoughnessFactor !== undefined ) { + + materialParams.clearcoatRoughness = extension.clearcoatRoughnessFactor; + + } + + if ( extension.clearcoatRoughnessTexture !== undefined ) { + + pending.push( parser.assignTexture( materialParams, 'clearcoatRoughnessMap', extension.clearcoatRoughnessTexture ) ); + + } + + if ( extension.clearcoatNormalTexture !== undefined ) { + + pending.push( parser.assignTexture( materialParams, 'clearcoatNormalMap', extension.clearcoatNormalTexture ) ); + + if ( extension.clearcoatNormalTexture.scale !== undefined ) { + + var scale = extension.clearcoatNormalTexture.scale; + + materialParams.clearcoatNormalScale = new Vector2( scale, scale ); + + } + + } + + return Promise.all( pending ); + + }; + + /** + * Transmission Materials Extension + * + * Specification: https://github.com/KhronosGroup/glTF/tree/master/extensions/2.0/Khronos/KHR_materials_transmission + * Draft: https://github.com/KhronosGroup/glTF/pull/1698 + */ + function GLTFMaterialsTransmissionExtension( parser ) { + + this.parser = parser; + this.name = EXTENSIONS.KHR_MATERIALS_TRANSMISSION; + + } + + GLTFMaterialsTransmissionExtension.prototype.getMaterialType = function ( materialIndex ) { + + var parser = this.parser; + var materialDef = parser.json.materials[ materialIndex ]; + + if ( ! materialDef.extensions || ! materialDef.extensions[ this.name ] ) return null; + + return MeshPhysicalMaterial; + + }; + + GLTFMaterialsTransmissionExtension.prototype.extendMaterialParams = function ( materialIndex, materialParams ) { + + var parser = this.parser; + var materialDef = parser.json.materials[ materialIndex ]; + + if ( ! materialDef.extensions || ! materialDef.extensions[ this.name ] ) { + + return Promise.resolve(); + + } + + var pending = []; + + var extension = materialDef.extensions[ this.name ]; + + if ( extension.transmissionFactor !== undefined ) { + + materialParams.transmission = extension.transmissionFactor; + + } + + if ( extension.transmissionTexture !== undefined ) { + + pending.push( parser.assignTexture( materialParams, 'transmissionMap', extension.transmissionTexture ) ); + + } + + return Promise.all( pending ); + + }; + + /** + * BasisU Texture Extension + * + * Specification: https://github.com/KhronosGroup/glTF/tree/master/extensions/2.0/Khronos/KHR_texture_basisu + * (draft PR https://github.com/KhronosGroup/glTF/pull/1751) + */ + function GLTFTextureBasisUExtension( parser ) { + + this.parser = parser; + this.name = EXTENSIONS.KHR_TEXTURE_BASISU; + + } + + GLTFTextureBasisUExtension.prototype.loadTexture = function ( textureIndex ) { + + var parser = this.parser; + var json = parser.json; + + var textureDef = json.textures[ textureIndex ]; + + if ( ! textureDef.extensions || ! textureDef.extensions[ this.name ] ) { + + return null; + + } + + var extension = textureDef.extensions[ this.name ]; + var source = json.images[ extension.source ]; + var loader = parser.options.ktx2Loader; + + if ( ! loader ) { + + throw new Error( 'THREE.GLTFLoader: setKTX2Loader must be called before loading KTX2 textures' ); + + } + + return parser.loadTextureImage( textureIndex, source, loader ); + + }; + + /* BINARY EXTENSION */ + var BINARY_EXTENSION_HEADER_MAGIC = 'glTF'; + var BINARY_EXTENSION_HEADER_LENGTH = 12; + var BINARY_EXTENSION_CHUNK_TYPES = { JSON: 0x4E4F534A, BIN: 0x004E4942 }; + + function GLTFBinaryExtension( data ) { + + this.name = EXTENSIONS.KHR_BINARY_GLTF; + this.content = null; + this.body = null; + + var headerView = new DataView( data, 0, BINARY_EXTENSION_HEADER_LENGTH ); + + this.header = { + magic: LoaderUtils.decodeText( new Uint8Array( data.slice( 0, 4 ) ) ), + version: headerView.getUint32( 4, true ), + length: headerView.getUint32( 8, true ) + }; + + if ( this.header.magic !== BINARY_EXTENSION_HEADER_MAGIC ) { + + throw new Error( 'THREE.GLTFLoader: Unsupported glTF-Binary header.' ); + + } else if ( this.header.version < 2.0 ) { + + throw new Error( 'THREE.GLTFLoader: Legacy binary file detected.' ); + + } + + var chunkView = new DataView( data, BINARY_EXTENSION_HEADER_LENGTH ); + var chunkIndex = 0; + + while ( chunkIndex < chunkView.byteLength ) { + + var chunkLength = chunkView.getUint32( chunkIndex, true ); + chunkIndex += 4; + + var chunkType = chunkView.getUint32( chunkIndex, true ); + chunkIndex += 4; + + if ( chunkType === BINARY_EXTENSION_CHUNK_TYPES.JSON ) { + + var contentArray = new Uint8Array( data, BINARY_EXTENSION_HEADER_LENGTH + chunkIndex, chunkLength ); + this.content = LoaderUtils.decodeText( contentArray ); + + } else if ( chunkType === BINARY_EXTENSION_CHUNK_TYPES.BIN ) { + + var byteOffset = BINARY_EXTENSION_HEADER_LENGTH + chunkIndex; + this.body = data.slice( byteOffset, byteOffset + chunkLength ); + + } + + // Clients must ignore chunks with unknown types. + + chunkIndex += chunkLength; + + } + + if ( this.content === null ) { + + throw new Error( 'THREE.GLTFLoader: JSON content not found.' ); + + } + + } + + /** + * DRACO Mesh Compression Extension + * + * Specification: https://github.com/KhronosGroup/glTF/tree/master/extensions/2.0/Khronos/KHR_draco_mesh_compression + */ + function GLTFDracoMeshCompressionExtension( json, dracoLoader ) { + + if ( ! dracoLoader ) { + + throw new Error( 'THREE.GLTFLoader: No DRACOLoader instance provided.' ); + + } + + this.name = EXTENSIONS.KHR_DRACO_MESH_COMPRESSION; + this.json = json; + this.dracoLoader = dracoLoader; + this.dracoLoader.preload(); + + } + + GLTFDracoMeshCompressionExtension.prototype.decodePrimitive = function ( primitive, parser ) { + + var json = this.json; + var dracoLoader = this.dracoLoader; + var bufferViewIndex = primitive.extensions[ this.name ].bufferView; + var gltfAttributeMap = primitive.extensions[ this.name ].attributes; + var threeAttributeMap = {}; + var attributeNormalizedMap = {}; + var attributeTypeMap = {}; + + for ( var attributeName in gltfAttributeMap ) { + + var threeAttributeName = ATTRIBUTES[ attributeName ] || attributeName.toLowerCase(); + + threeAttributeMap[ threeAttributeName ] = gltfAttributeMap[ attributeName ]; + + } + + for ( attributeName in primitive.attributes ) { + + var threeAttributeName = ATTRIBUTES[ attributeName ] || attributeName.toLowerCase(); + + if ( gltfAttributeMap[ attributeName ] !== undefined ) { + + var accessorDef = json.accessors[ primitive.attributes[ attributeName ] ]; + var componentType = WEBGL_COMPONENT_TYPES[ accessorDef.componentType ]; + + attributeTypeMap[ threeAttributeName ] = componentType; + attributeNormalizedMap[ threeAttributeName ] = accessorDef.normalized === true; + + } + + } + + return parser.getDependency( 'bufferView', bufferViewIndex ).then( function ( bufferView ) { + + return new Promise( function ( resolve ) { + + dracoLoader.decodeDracoFile( bufferView, function ( geometry ) { + + for ( var attributeName in geometry.attributes ) { + + var attribute = geometry.attributes[ attributeName ]; + var normalized = attributeNormalizedMap[ attributeName ]; + + if ( normalized !== undefined ) attribute.normalized = normalized; + + } + + resolve( geometry ); + + }, threeAttributeMap, attributeTypeMap ); + + } ); + + } ); + + }; + + /** + * Texture Transform Extension + * + * Specification: https://github.com/KhronosGroup/glTF/tree/master/extensions/2.0/Khronos/KHR_texture_transform + */ + function GLTFTextureTransformExtension() { + + this.name = EXTENSIONS.KHR_TEXTURE_TRANSFORM; + + } + + GLTFTextureTransformExtension.prototype.extendTexture = function ( texture, transform ) { + + texture = texture.clone(); + + if ( transform.offset !== undefined ) { + + texture.offset.fromArray( transform.offset ); + + } + + if ( transform.rotation !== undefined ) { + + texture.rotation = transform.rotation; + + } + + if ( transform.scale !== undefined ) { + + texture.repeat.fromArray( transform.scale ); + + } + + if ( transform.texCoord !== undefined ) { + + console.warn( 'THREE.GLTFLoader: Custom UV sets in "' + this.name + '" extension not yet supported.' ); + + } + + texture.needsUpdate = true; + + return texture; + + }; + + /** + * Specular-Glossiness Extension + * + * Specification: https://github.com/KhronosGroup/glTF/tree/master/extensions/2.0/Khronos/KHR_materials_pbrSpecularGlossiness + */ + + /** + * A sub class of StandardMaterial with some of the functionality + * changed via the `onBeforeCompile` callback + * @pailhead + */ + + function GLTFMeshStandardSGMaterial( params ) { + + MeshStandardMaterial.call( this ); + + this.isGLTFSpecularGlossinessMaterial = true; + + //various chunks that need replacing + var specularMapParsFragmentChunk = [ + '#ifdef USE_SPECULARMAP', + ' uniform sampler2D specularMap;', + '#endif' + ].join( '\n' ); + + var glossinessMapParsFragmentChunk = [ + '#ifdef USE_GLOSSINESSMAP', + ' uniform sampler2D glossinessMap;', + '#endif' + ].join( '\n' ); + + var specularMapFragmentChunk = [ + 'vec3 specularFactor = specular;', + '#ifdef USE_SPECULARMAP', + ' vec4 texelSpecular = texture2D( specularMap, vUv );', + ' texelSpecular = sRGBToLinear( texelSpecular );', + ' // reads channel RGB, compatible with a glTF Specular-Glossiness (RGBA) texture', + ' specularFactor *= texelSpecular.rgb;', + '#endif' + ].join( '\n' ); + + var glossinessMapFragmentChunk = [ + 'float glossinessFactor = glossiness;', + '#ifdef USE_GLOSSINESSMAP', + ' vec4 texelGlossiness = texture2D( glossinessMap, vUv );', + ' // reads channel A, compatible with a glTF Specular-Glossiness (RGBA) texture', + ' glossinessFactor *= texelGlossiness.a;', + '#endif' + ].join( '\n' ); + + var lightPhysicalFragmentChunk = [ + 'PhysicalMaterial material;', + 'material.diffuseColor = diffuseColor.rgb * ( 1. - max( specularFactor.r, max( specularFactor.g, specularFactor.b ) ) );', + 'vec3 dxy = max( abs( dFdx( geometryNormal ) ), abs( dFdy( geometryNormal ) ) );', + 'float geometryRoughness = max( max( dxy.x, dxy.y ), dxy.z );', + 'material.specularRoughness = max( 1.0 - glossinessFactor, 0.0525 ); // 0.0525 corresponds to the base mip of a 256 cubemap.', + 'material.specularRoughness += geometryRoughness;', + 'material.specularRoughness = min( material.specularRoughness, 1.0 );', + 'material.specularColor = specularFactor;', + ].join( '\n' ); + + var uniforms = { + specular: { value: new Color().setHex( 0xffffff ) }, + glossiness: { value: 1 }, + specularMap: { value: null }, + glossinessMap: { value: null } + }; + + this._extraUniforms = uniforms; + + this.onBeforeCompile = function ( shader ) { + + for ( var uniformName in uniforms ) { + + shader.uniforms[ uniformName ] = uniforms[ uniformName ]; + + } + + shader.fragmentShader = shader.fragmentShader + .replace( 'uniform float roughness;', 'uniform vec3 specular;' ) + .replace( 'uniform float metalness;', 'uniform float glossiness;' ) + .replace( '#include ', specularMapParsFragmentChunk ) + .replace( '#include ', glossinessMapParsFragmentChunk ) + .replace( '#include ', specularMapFragmentChunk ) + .replace( '#include ', glossinessMapFragmentChunk ) + .replace( '#include ', lightPhysicalFragmentChunk ); + + }; + + Object.defineProperties( this, { + + specular: { + get: function () { + + return uniforms.specular.value; + + }, + set: function ( v ) { + + uniforms.specular.value = v; + + } + }, + + specularMap: { + get: function () { + + return uniforms.specularMap.value; + + }, + set: function ( v ) { + + uniforms.specularMap.value = v; + + if ( v ) { + + this.defines.USE_SPECULARMAP = ''; // USE_UV is set by the renderer for specular maps + + } else { + + delete this.defines.USE_SPECULARMAP; + + } + + } + }, + + glossiness: { + get: function () { + + return uniforms.glossiness.value; + + }, + set: function ( v ) { + + uniforms.glossiness.value = v; + + } + }, + + glossinessMap: { + get: function () { + + return uniforms.glossinessMap.value; + + }, + set: function ( v ) { + + uniforms.glossinessMap.value = v; + + if ( v ) { + + this.defines.USE_GLOSSINESSMAP = ''; + this.defines.USE_UV = ''; + + } else { + + delete this.defines.USE_GLOSSINESSMAP; + delete this.defines.USE_UV; + + } + + } + } + + } ); + + delete this.metalness; + delete this.roughness; + delete this.metalnessMap; + delete this.roughnessMap; + + this.setValues( params ); + + } + + GLTFMeshStandardSGMaterial.prototype = Object.create( MeshStandardMaterial.prototype ); + GLTFMeshStandardSGMaterial.prototype.constructor = GLTFMeshStandardSGMaterial; + + GLTFMeshStandardSGMaterial.prototype.copy = function ( source ) { + + MeshStandardMaterial.prototype.copy.call( this, source ); + this.specularMap = source.specularMap; + this.specular.copy( source.specular ); + this.glossinessMap = source.glossinessMap; + this.glossiness = source.glossiness; + delete this.metalness; + delete this.roughness; + delete this.metalnessMap; + delete this.roughnessMap; + return this; + + }; + + function GLTFMaterialsPbrSpecularGlossinessExtension() { + + return { + + name: EXTENSIONS.KHR_MATERIALS_PBR_SPECULAR_GLOSSINESS, + + specularGlossinessParams: [ + 'color', + 'map', + 'lightMap', + 'lightMapIntensity', + 'aoMap', + 'aoMapIntensity', + 'emissive', + 'emissiveIntensity', + 'emissiveMap', + 'bumpMap', + 'bumpScale', + 'normalMap', + 'normalMapType', + 'displacementMap', + 'displacementScale', + 'displacementBias', + 'specularMap', + 'specular', + 'glossinessMap', + 'glossiness', + 'alphaMap', + 'envMap', + 'envMapIntensity', + 'refractionRatio', + ], + + getMaterialType: function () { + + return GLTFMeshStandardSGMaterial; + + }, + + extendParams: function ( materialParams, materialDef, parser ) { + + var pbrSpecularGlossiness = materialDef.extensions[ this.name ]; + + materialParams.color = new Color( 1.0, 1.0, 1.0 ); + materialParams.opacity = 1.0; + + var pending = []; + + if ( Array.isArray( pbrSpecularGlossiness.diffuseFactor ) ) { + + var array = pbrSpecularGlossiness.diffuseFactor; + + materialParams.color.fromArray( array ); + materialParams.opacity = array[ 3 ]; + + } + + if ( pbrSpecularGlossiness.diffuseTexture !== undefined ) { + + pending.push( parser.assignTexture( materialParams, 'map', pbrSpecularGlossiness.diffuseTexture ) ); + + } + + materialParams.emissive = new Color( 0.0, 0.0, 0.0 ); + materialParams.glossiness = pbrSpecularGlossiness.glossinessFactor !== undefined ? pbrSpecularGlossiness.glossinessFactor : 1.0; + materialParams.specular = new Color( 1.0, 1.0, 1.0 ); + + if ( Array.isArray( pbrSpecularGlossiness.specularFactor ) ) { + + materialParams.specular.fromArray( pbrSpecularGlossiness.specularFactor ); + + } + + if ( pbrSpecularGlossiness.specularGlossinessTexture !== undefined ) { + + var specGlossMapDef = pbrSpecularGlossiness.specularGlossinessTexture; + pending.push( parser.assignTexture( materialParams, 'glossinessMap', specGlossMapDef ) ); + pending.push( parser.assignTexture( materialParams, 'specularMap', specGlossMapDef ) ); + + } + + return Promise.all( pending ); + + }, + + createMaterial: function ( materialParams ) { + + var material = new GLTFMeshStandardSGMaterial( materialParams ); + material.fog = true; + + material.color = materialParams.color; + + material.map = materialParams.map === undefined ? null : materialParams.map; + + material.lightMap = null; + material.lightMapIntensity = 1.0; + + material.aoMap = materialParams.aoMap === undefined ? null : materialParams.aoMap; + material.aoMapIntensity = 1.0; + + material.emissive = materialParams.emissive; + material.emissiveIntensity = 1.0; + material.emissiveMap = materialParams.emissiveMap === undefined ? null : materialParams.emissiveMap; + + material.bumpMap = materialParams.bumpMap === undefined ? null : materialParams.bumpMap; + material.bumpScale = 1; + + material.normalMap = materialParams.normalMap === undefined ? null : materialParams.normalMap; + material.normalMapType = TangentSpaceNormalMap; + + if ( materialParams.normalScale ) material.normalScale = materialParams.normalScale; + + material.displacementMap = null; + material.displacementScale = 1; + material.displacementBias = 0; + + material.specularMap = materialParams.specularMap === undefined ? null : materialParams.specularMap; + material.specular = materialParams.specular; + + material.glossinessMap = materialParams.glossinessMap === undefined ? null : materialParams.glossinessMap; + material.glossiness = materialParams.glossiness; + + material.alphaMap = null; + + material.envMap = materialParams.envMap === undefined ? null : materialParams.envMap; + material.envMapIntensity = 1.0; + + material.refractionRatio = 0.98; + + return material; + + }, + + }; + + } + + /** + * Mesh Quantization Extension + * + * Specification: https://github.com/KhronosGroup/glTF/tree/master/extensions/2.0/Khronos/KHR_mesh_quantization + */ + function GLTFMeshQuantizationExtension() { + + this.name = EXTENSIONS.KHR_MESH_QUANTIZATION; + + } + + /*********************************/ + /********** INTERPOLATION ********/ + /*********************************/ + + // Spline Interpolation + // Specification: https://github.com/KhronosGroup/glTF/blob/master/specification/2.0/README.md#appendix-c-spline-interpolation + function GLTFCubicSplineInterpolant( parameterPositions, sampleValues, sampleSize, resultBuffer ) { + + Interpolant.call( this, parameterPositions, sampleValues, sampleSize, resultBuffer ); + + } + + GLTFCubicSplineInterpolant.prototype = Object.create( Interpolant.prototype ); + GLTFCubicSplineInterpolant.prototype.constructor = GLTFCubicSplineInterpolant; + + GLTFCubicSplineInterpolant.prototype.copySampleValue_ = function ( index ) { + + // Copies a sample value to the result buffer. See description of glTF + // CUBICSPLINE values layout in interpolate_() function below. + + var result = this.resultBuffer, + values = this.sampleValues, + valueSize = this.valueSize, + offset = index * valueSize * 3 + valueSize; + + for ( var i = 0; i !== valueSize; i ++ ) { + + result[ i ] = values[ offset + i ]; + + } + + return result; + + }; + + GLTFCubicSplineInterpolant.prototype.beforeStart_ = GLTFCubicSplineInterpolant.prototype.copySampleValue_; + + GLTFCubicSplineInterpolant.prototype.afterEnd_ = GLTFCubicSplineInterpolant.prototype.copySampleValue_; + + GLTFCubicSplineInterpolant.prototype.interpolate_ = function ( i1, t0, t, t1 ) { + + var result = this.resultBuffer; + var values = this.sampleValues; + var stride = this.valueSize; + + var stride2 = stride * 2; + var stride3 = stride * 3; + + var td = t1 - t0; + + var p = ( t - t0 ) / td; + var pp = p * p; + var ppp = pp * p; + + var offset1 = i1 * stride3; + var offset0 = offset1 - stride3; + + var s2 = - 2 * ppp + 3 * pp; + var s3 = ppp - pp; + var s0 = 1 - s2; + var s1 = s3 - pp + p; + + // Layout of keyframe output values for CUBICSPLINE animations: + // [ inTangent_1, splineVertex_1, outTangent_1, inTangent_2, splineVertex_2, ... ] + for ( var i = 0; i !== stride; i ++ ) { + + var p0 = values[ offset0 + i + stride ]; // splineVertex_k + var m0 = values[ offset0 + i + stride2 ] * td; // outTangent_k * (t_k+1 - t_k) + var p1 = values[ offset1 + i + stride ]; // splineVertex_k+1 + var m1 = values[ offset1 + i ] * td; // inTangent_k+1 * (t_k+1 - t_k) + + result[ i ] = s0 * p0 + s1 * m0 + s2 * p1 + s3 * m1; + + } + + return result; + + }; + + /*********************************/ + /********** INTERNALS ************/ + /*********************************/ + + /* CONSTANTS */ + + var WEBGL_CONSTANTS = { + FLOAT: 5126, + //FLOAT_MAT2: 35674, + FLOAT_MAT3: 35675, + FLOAT_MAT4: 35676, + FLOAT_VEC2: 35664, + FLOAT_VEC3: 35665, + FLOAT_VEC4: 35666, + LINEAR: 9729, + REPEAT: 10497, + SAMPLER_2D: 35678, + POINTS: 0, + LINES: 1, + LINE_LOOP: 2, + LINE_STRIP: 3, + TRIANGLES: 4, + TRIANGLE_STRIP: 5, + TRIANGLE_FAN: 6, + UNSIGNED_BYTE: 5121, + UNSIGNED_SHORT: 5123 + }; + + var WEBGL_COMPONENT_TYPES = { + 5120: Int8Array, + 5121: Uint8Array, + 5122: Int16Array, + 5123: Uint16Array, + 5125: Uint32Array, + 5126: Float32Array + }; + + var WEBGL_FILTERS = { + 9728: NearestFilter, + 9729: LinearFilter, + 9984: NearestMipmapNearestFilter, + 9985: LinearMipmapNearestFilter, + 9986: NearestMipmapLinearFilter, + 9987: LinearMipmapLinearFilter + }; + + var WEBGL_WRAPPINGS = { + 33071: ClampToEdgeWrapping, + 33648: MirroredRepeatWrapping, + 10497: RepeatWrapping + }; + + var WEBGL_TYPE_SIZES = { + 'SCALAR': 1, + 'VEC2': 2, + 'VEC3': 3, + 'VEC4': 4, + 'MAT2': 4, + 'MAT3': 9, + 'MAT4': 16 + }; + + var ATTRIBUTES = { + POSITION: 'position', + NORMAL: 'normal', + TANGENT: 'tangent', + TEXCOORD_0: 'uv', + TEXCOORD_1: 'uv2', + COLOR_0: 'color', + WEIGHTS_0: 'skinWeight', + JOINTS_0: 'skinIndex', + }; + + var PATH_PROPERTIES = { + scale: 'scale', + translation: 'position', + rotation: 'quaternion', + weights: 'morphTargetInfluences' + }; + + var INTERPOLATION = { + CUBICSPLINE: undefined, // We use a custom interpolant (GLTFCubicSplineInterpolation) for CUBICSPLINE tracks. Each + // keyframe track will be initialized with a default interpolation type, then modified. + LINEAR: InterpolateLinear, + STEP: InterpolateDiscrete + }; + + var ALPHA_MODES = { + OPAQUE: 'OPAQUE', + MASK: 'MASK', + BLEND: 'BLEND' + }; + + /* UTILITY FUNCTIONS */ + + function resolveURL( url, path ) { + + // Invalid URL + if ( typeof url !== 'string' || url === '' ) return ''; + + // Host Relative URL + if ( /^https?:\/\//i.test( path ) && /^\//.test( url ) ) { + + path = path.replace( /(^https?:\/\/[^\/]+).*/i, '$1' ); + + } + + // Absolute URL http://,https://,// + if ( /^(https?:)?\/\//i.test( url ) ) return url; + + // Data URI + if ( /^data:.*,.*$/i.test( url ) ) return url; + + // Blob URL + if ( /^blob:.*$/i.test( url ) ) return url; + + // Relative URL + return path + url; + + } + + /** + * Specification: https://github.com/KhronosGroup/glTF/blob/master/specification/2.0/README.md#default-material + */ + function createDefaultMaterial( cache ) { + + if ( cache[ 'DefaultMaterial' ] === undefined ) { + + cache[ 'DefaultMaterial' ] = new MeshStandardMaterial( { + color: 0xFFFFFF, + emissive: 0x000000, + metalness: 1, + roughness: 1, + transparent: false, + depthTest: true, + side: FrontSide + } ); + + } + + return cache[ 'DefaultMaterial' ]; + + } + + function addUnknownExtensionsToUserData( knownExtensions, object, objectDef ) { + + // Add unknown glTF extensions to an object's userData. + + for ( var name in objectDef.extensions ) { + + if ( knownExtensions[ name ] === undefined ) { + + object.userData.gltfExtensions = object.userData.gltfExtensions || {}; + object.userData.gltfExtensions[ name ] = objectDef.extensions[ name ]; + + } + + } + + } + + /** + * @param {Object3D|Material|BufferGeometry} object + * @param {GLTF.definition} gltfDef + */ + function assignExtrasToUserData( object, gltfDef ) { + + if ( gltfDef.extras !== undefined ) { + + if ( typeof gltfDef.extras === 'object' ) { + + Object.assign( object.userData, gltfDef.extras ); + + } else { + + console.warn( 'THREE.GLTFLoader: Ignoring primitive type .extras, ' + gltfDef.extras ); + + } + + } + + } + + /** + * Specification: https://github.com/KhronosGroup/glTF/blob/master/specification/2.0/README.md#morph-targets + * + * @param {BufferGeometry} geometry + * @param {Array} targets + * @param {GLTFParser} parser + * @return {Promise} + */ + function addMorphTargets( geometry, targets, parser ) { + + var hasMorphPosition = false; + var hasMorphNormal = false; + + for ( var i = 0, il = targets.length; i < il; i ++ ) { + + var target = targets[ i ]; + + if ( target.POSITION !== undefined ) hasMorphPosition = true; + if ( target.NORMAL !== undefined ) hasMorphNormal = true; + + if ( hasMorphPosition && hasMorphNormal ) break; + + } + + if ( ! hasMorphPosition && ! hasMorphNormal ) return Promise.resolve( geometry ); + + var pendingPositionAccessors = []; + var pendingNormalAccessors = []; + + for ( var i = 0, il = targets.length; i < il; i ++ ) { + + var target = targets[ i ]; + + if ( hasMorphPosition ) { + + var pendingAccessor = target.POSITION !== undefined + ? parser.getDependency( 'accessor', target.POSITION ) + : geometry.attributes.position; + + pendingPositionAccessors.push( pendingAccessor ); + + } + + if ( hasMorphNormal ) { + + var pendingAccessor = target.NORMAL !== undefined + ? parser.getDependency( 'accessor', target.NORMAL ) + : geometry.attributes.normal; + + pendingNormalAccessors.push( pendingAccessor ); + + } + + } + + return Promise.all( [ + Promise.all( pendingPositionAccessors ), + Promise.all( pendingNormalAccessors ) + ] ).then( function ( accessors ) { + + var morphPositions = accessors[ 0 ]; + var morphNormals = accessors[ 1 ]; + + if ( hasMorphPosition ) geometry.morphAttributes.position = morphPositions; + if ( hasMorphNormal ) geometry.morphAttributes.normal = morphNormals; + geometry.morphTargetsRelative = true; + + return geometry; + + } ); + + } + + /** + * @param {Mesh} mesh + * @param {GLTF.Mesh} meshDef + */ + function updateMorphTargets( mesh, meshDef ) { + + mesh.updateMorphTargets(); + + if ( meshDef.weights !== undefined ) { + + for ( var i = 0, il = meshDef.weights.length; i < il; i ++ ) { + + mesh.morphTargetInfluences[ i ] = meshDef.weights[ i ]; + + } + + } + + // .extras has user-defined data, so check that .extras.targetNames is an array. + if ( meshDef.extras && Array.isArray( meshDef.extras.targetNames ) ) { + + var targetNames = meshDef.extras.targetNames; + + if ( mesh.morphTargetInfluences.length === targetNames.length ) { + + mesh.morphTargetDictionary = {}; + + for ( var i = 0, il = targetNames.length; i < il; i ++ ) { + + mesh.morphTargetDictionary[ targetNames[ i ] ] = i; + + } + + } else { + + console.warn( 'THREE.GLTFLoader: Invalid extras.targetNames length. Ignoring names.' ); + + } + + } + + } + + function createPrimitiveKey( primitiveDef ) { + + var dracoExtension = primitiveDef.extensions && primitiveDef.extensions[ EXTENSIONS.KHR_DRACO_MESH_COMPRESSION ]; + var geometryKey; + + if ( dracoExtension ) { + + geometryKey = 'draco:' + dracoExtension.bufferView + + ':' + dracoExtension.indices + + ':' + createAttributesKey( dracoExtension.attributes ); + + } else { + + geometryKey = primitiveDef.indices + ':' + createAttributesKey( primitiveDef.attributes ) + ':' + primitiveDef.mode; + + } + + return geometryKey; + + } + + function createAttributesKey( attributes ) { + + var attributesKey = ''; + + var keys = Object.keys( attributes ).sort(); + + for ( var i = 0, il = keys.length; i < il; i ++ ) { + + attributesKey += keys[ i ] + ':' + attributes[ keys[ i ] ] + ';'; + + } + + return attributesKey; + + } + + /* GLTF PARSER */ + + function GLTFParser( json, options ) { + + this.json = json || {}; + this.extensions = {}; + this.plugins = {}; + this.options = options || {}; + + // loader object cache + this.cache = new GLTFRegistry(); + + // associations between Three.js objects and glTF elements + this.associations = new Map(); + + // BufferGeometry caching + this.primitiveCache = {}; + + // Object3D instance caches + this.meshCache = { refs: {}, uses: {} }; + this.cameraCache = { refs: {}, uses: {} }; + this.lightCache = { refs: {}, uses: {} }; + + // Track node names, to ensure no duplicates + this.nodeNamesUsed = {}; + + // Use an ImageBitmapLoader if imageBitmaps are supported. Moves much of the + // expensive work of uploading a texture to the GPU off the main thread. + if ( typeof createImageBitmap !== 'undefined' && /Firefox/.test( navigator.userAgent ) === false ) { + + this.textureLoader = new ImageBitmapLoader( this.options.manager ); + + } else { + + this.textureLoader = new TextureLoader( this.options.manager ); + + } + + this.textureLoader.setCrossOrigin( this.options.crossOrigin ); + + this.fileLoader = new FileLoader( this.options.manager ); + this.fileLoader.setResponseType( 'arraybuffer' ); + + if ( this.options.crossOrigin === 'use-credentials' ) { + + this.fileLoader.setWithCredentials( true ); + + } + + } + + GLTFParser.prototype.setExtensions = function ( extensions ) { + + this.extensions = extensions; + + }; + + GLTFParser.prototype.setPlugins = function ( plugins ) { + + this.plugins = plugins; + + }; + + GLTFParser.prototype.parse = function ( onLoad, onError ) { + + var parser = this; + var json = this.json; + var extensions = this.extensions; + + // Clear the loader cache + this.cache.removeAll(); + + // Mark the special nodes/meshes in json for efficient parse + this._invokeAll( function ( ext ) { + + return ext._markDefs && ext._markDefs(); + + } ); + + Promise.all( [ + + this.getDependencies( 'scene' ), + this.getDependencies( 'animation' ), + this.getDependencies( 'camera' ), + + ] ).then( function ( dependencies ) { + + var result = { + scene: dependencies[ 0 ][ json.scene || 0 ], + scenes: dependencies[ 0 ], + animations: dependencies[ 1 ], + cameras: dependencies[ 2 ], + asset: json.asset, + parser: parser, + userData: {} + }; + + addUnknownExtensionsToUserData( extensions, result, json ); + + assignExtrasToUserData( result, json ); + + onLoad( result ); + + } ).catch( onError ); + + }; + + /** + * Marks the special nodes/meshes in json for efficient parse. + */ + GLTFParser.prototype._markDefs = function () { + + var nodeDefs = this.json.nodes || []; + var skinDefs = this.json.skins || []; + var meshDefs = this.json.meshes || []; + + // Nothing in the node definition indicates whether it is a Bone or an + // Object3D. Use the skins' joint references to mark bones. + for ( var skinIndex = 0, skinLength = skinDefs.length; skinIndex < skinLength; skinIndex ++ ) { + + var joints = skinDefs[ skinIndex ].joints; + + for ( var i = 0, il = joints.length; i < il; i ++ ) { + + nodeDefs[ joints[ i ] ].isBone = true; + + } + + } + + // Iterate over all nodes, marking references to shared resources, + // as well as skeleton joints. + for ( var nodeIndex = 0, nodeLength = nodeDefs.length; nodeIndex < nodeLength; nodeIndex ++ ) { + + var nodeDef = nodeDefs[ nodeIndex ]; + + if ( nodeDef.mesh !== undefined ) { + + this._addNodeRef( this.meshCache, nodeDef.mesh ); + + // Nothing in the mesh definition indicates whether it is + // a SkinnedMesh or Mesh. Use the node's mesh reference + // to mark SkinnedMesh if node has skin. + if ( nodeDef.skin !== undefined ) { + + meshDefs[ nodeDef.mesh ].isSkinnedMesh = true; + + } + + } + + if ( nodeDef.camera !== undefined ) { + + this._addNodeRef( this.cameraCache, nodeDef.camera ); + + } + + } + + }; + + /** + * Counts references to shared node / Object3D resources. These resources + * can be reused, or "instantiated", at multiple nodes in the scene + * hierarchy. Mesh, Camera, and Light instances are instantiated and must + * be marked. Non-scenegraph resources (like Materials, Geometries, and + * Textures) can be reused directly and are not marked here. + * + * Example: CesiumMilkTruck sample model reuses "Wheel" meshes. + */ + GLTFParser.prototype._addNodeRef = function ( cache, index ) { + + if ( index === undefined ) return; + + if ( cache.refs[ index ] === undefined ) { + + cache.refs[ index ] = cache.uses[ index ] = 0; + + } + + cache.refs[ index ] ++; + + }; + + /** Returns a reference to a shared resource, cloning it if necessary. */ + GLTFParser.prototype._getNodeRef = function ( cache, index, object ) { + + if ( cache.refs[ index ] <= 1 ) return object; + + var ref = object.clone(); + + ref.name += '_instance_' + ( cache.uses[ index ] ++ ); + + return ref; + + }; + + GLTFParser.prototype._invokeOne = function ( func ) { + + var extensions = Object.values( this.plugins ); + extensions.push( this ); + + for ( var i = 0; i < extensions.length; i ++ ) { + + var result = func( extensions[ i ] ); + + if ( result ) return result; + + } + + }; + + GLTFParser.prototype._invokeAll = function ( func ) { + + var extensions = Object.values( this.plugins ); + extensions.unshift( this ); + + var pending = []; + + for ( var i = 0; i < extensions.length; i ++ ) { + + var result = func( extensions[ i ] ); + + if ( result ) pending.push( result ); + + } + + return pending; + + }; + + /** + * Requests the specified dependency asynchronously, with caching. + * @param {string} type + * @param {number} index + * @return {Promise} + */ + GLTFParser.prototype.getDependency = function ( type, index ) { + + var cacheKey = type + ':' + index; + var dependency = this.cache.get( cacheKey ); + + if ( ! dependency ) { + + switch ( type ) { + + case 'scene': + dependency = this.loadScene( index ); + break; + + case 'node': + dependency = this.loadNode( index ); + break; + + case 'mesh': + dependency = this._invokeOne( function ( ext ) { + + return ext.loadMesh && ext.loadMesh( index ); + + } ); + break; + + case 'accessor': + dependency = this.loadAccessor( index ); + break; + + case 'bufferView': + dependency = this._invokeOne( function ( ext ) { + + return ext.loadBufferView && ext.loadBufferView( index ); + + } ); + break; + + case 'buffer': + dependency = this.loadBuffer( index ); + break; + + case 'material': + dependency = this._invokeOne( function ( ext ) { + + return ext.loadMaterial && ext.loadMaterial( index ); + + } ); + break; + + case 'texture': + dependency = this._invokeOne( function ( ext ) { + + return ext.loadTexture && ext.loadTexture( index ); + + } ); + break; + + case 'skin': + dependency = this.loadSkin( index ); + break; + + case 'animation': + dependency = this.loadAnimation( index ); + break; + + case 'camera': + dependency = this.loadCamera( index ); + break; + + default: + throw new Error( 'Unknown type: ' + type ); + + } + + this.cache.add( cacheKey, dependency ); + + } + + return dependency; + + }; + + /** + * Requests all dependencies of the specified type asynchronously, with caching. + * @param {string} type + * @return {Promise>} + */ + GLTFParser.prototype.getDependencies = function ( type ) { + + var dependencies = this.cache.get( type ); + + if ( ! dependencies ) { + + var parser = this; + var defs = this.json[ type + ( type === 'mesh' ? 'es' : 's' ) ] || []; + + dependencies = Promise.all( defs.map( function ( def, index ) { + + return parser.getDependency( type, index ); + + } ) ); + + this.cache.add( type, dependencies ); + + } + + return dependencies; + + }; + + /** + * Specification: https://github.com/KhronosGroup/glTF/blob/master/specification/2.0/README.md#buffers-and-buffer-views + * @param {number} bufferIndex + * @return {Promise} + */ + GLTFParser.prototype.loadBuffer = function ( bufferIndex ) { + + var bufferDef = this.json.buffers[ bufferIndex ]; + var loader = this.fileLoader; + + if ( bufferDef.type && bufferDef.type !== 'arraybuffer' ) { + + throw new Error( 'THREE.GLTFLoader: ' + bufferDef.type + ' buffer type is not supported.' ); + + } + + // If present, GLB container is required to be the first buffer. + if ( bufferDef.uri === undefined && bufferIndex === 0 ) { + + return Promise.resolve( this.extensions[ EXTENSIONS.KHR_BINARY_GLTF ].body ); + + } + + var options = this.options; + + return new Promise( function ( resolve, reject ) { + + loader.load( resolveURL( bufferDef.uri, options.path ), resolve, undefined, function () { + + reject( new Error( 'THREE.GLTFLoader: Failed to load buffer "' + bufferDef.uri + '".' ) ); + + } ); + + } ); + + }; + + /** + * Specification: https://github.com/KhronosGroup/glTF/blob/master/specification/2.0/README.md#buffers-and-buffer-views + * @param {number} bufferViewIndex + * @return {Promise} + */ + GLTFParser.prototype.loadBufferView = function ( bufferViewIndex ) { + + var bufferViewDef = this.json.bufferViews[ bufferViewIndex ]; + + return this.getDependency( 'buffer', bufferViewDef.buffer ).then( function ( buffer ) { + + var byteLength = bufferViewDef.byteLength || 0; + var byteOffset = bufferViewDef.byteOffset || 0; + return buffer.slice( byteOffset, byteOffset + byteLength ); + + } ); + + }; + + /** + * Specification: https://github.com/KhronosGroup/glTF/blob/master/specification/2.0/README.md#accessors + * @param {number} accessorIndex + * @return {Promise} + */ + GLTFParser.prototype.loadAccessor = function ( accessorIndex ) { + + var parser = this; + var json = this.json; + + var accessorDef = this.json.accessors[ accessorIndex ]; + + if ( accessorDef.bufferView === undefined && accessorDef.sparse === undefined ) { + + // Ignore empty accessors, which may be used to declare runtime + // information about attributes coming from another source (e.g. Draco + // compression extension). + return Promise.resolve( null ); + + } + + var pendingBufferViews = []; + + if ( accessorDef.bufferView !== undefined ) { + + pendingBufferViews.push( this.getDependency( 'bufferView', accessorDef.bufferView ) ); + + } else { + + pendingBufferViews.push( null ); + + } + + if ( accessorDef.sparse !== undefined ) { + + pendingBufferViews.push( this.getDependency( 'bufferView', accessorDef.sparse.indices.bufferView ) ); + pendingBufferViews.push( this.getDependency( 'bufferView', accessorDef.sparse.values.bufferView ) ); + + } + + return Promise.all( pendingBufferViews ).then( function ( bufferViews ) { + + var bufferView = bufferViews[ 0 ]; + + var itemSize = WEBGL_TYPE_SIZES[ accessorDef.type ]; + var TypedArray = WEBGL_COMPONENT_TYPES[ accessorDef.componentType ]; + + // For VEC3: itemSize is 3, elementBytes is 4, itemBytes is 12. + var elementBytes = TypedArray.BYTES_PER_ELEMENT; + var itemBytes = elementBytes * itemSize; + var byteOffset = accessorDef.byteOffset || 0; + var byteStride = accessorDef.bufferView !== undefined ? json.bufferViews[ accessorDef.bufferView ].byteStride : undefined; + var normalized = accessorDef.normalized === true; + var array, bufferAttribute; + + // The buffer is not interleaved if the stride is the item size in bytes. + if ( byteStride && byteStride !== itemBytes ) { + + // Each "slice" of the buffer, as defined by 'count' elements of 'byteStride' bytes, gets its own InterleavedBuffer + // This makes sure that IBA.count reflects accessor.count properly + var ibSlice = Math.floor( byteOffset / byteStride ); + var ibCacheKey = 'InterleavedBuffer:' + accessorDef.bufferView + ':' + accessorDef.componentType + ':' + ibSlice + ':' + accessorDef.count; + var ib = parser.cache.get( ibCacheKey ); + + if ( ! ib ) { + + array = new TypedArray( bufferView, ibSlice * byteStride, accessorDef.count * byteStride / elementBytes ); + + // Integer parameters to IB/IBA are in array elements, not bytes. + ib = new InterleavedBuffer( array, byteStride / elementBytes ); + + parser.cache.add( ibCacheKey, ib ); + + } + + bufferAttribute = new InterleavedBufferAttribute( ib, itemSize, ( byteOffset % byteStride ) / elementBytes, normalized ); + + } else { + + if ( bufferView === null ) { + + array = new TypedArray( accessorDef.count * itemSize ); + + } else { + + array = new TypedArray( bufferView, byteOffset, accessorDef.count * itemSize ); + + } + + bufferAttribute = new BufferAttribute( array, itemSize, normalized ); + + } + + // https://github.com/KhronosGroup/glTF/blob/master/specification/2.0/README.md#sparse-accessors + if ( accessorDef.sparse !== undefined ) { + + var itemSizeIndices = WEBGL_TYPE_SIZES.SCALAR; + var TypedArrayIndices = WEBGL_COMPONENT_TYPES[ accessorDef.sparse.indices.componentType ]; + + var byteOffsetIndices = accessorDef.sparse.indices.byteOffset || 0; + var byteOffsetValues = accessorDef.sparse.values.byteOffset || 0; + + var sparseIndices = new TypedArrayIndices( bufferViews[ 1 ], byteOffsetIndices, accessorDef.sparse.count * itemSizeIndices ); + var sparseValues = new TypedArray( bufferViews[ 2 ], byteOffsetValues, accessorDef.sparse.count * itemSize ); + + if ( bufferView !== null ) { + + // Avoid modifying the original ArrayBuffer, if the bufferView wasn't initialized with zeroes. + bufferAttribute = new BufferAttribute( bufferAttribute.array.slice(), bufferAttribute.itemSize, bufferAttribute.normalized ); + + } + + for ( var i = 0, il = sparseIndices.length; i < il; i ++ ) { + + var index = sparseIndices[ i ]; + + bufferAttribute.setX( index, sparseValues[ i * itemSize ] ); + if ( itemSize >= 2 ) bufferAttribute.setY( index, sparseValues[ i * itemSize + 1 ] ); + if ( itemSize >= 3 ) bufferAttribute.setZ( index, sparseValues[ i * itemSize + 2 ] ); + if ( itemSize >= 4 ) bufferAttribute.setW( index, sparseValues[ i * itemSize + 3 ] ); + if ( itemSize >= 5 ) throw new Error( 'THREE.GLTFLoader: Unsupported itemSize in sparse BufferAttribute.' ); + + } + + } + + return bufferAttribute; + + } ); + + }; + + /** + * Specification: https://github.com/KhronosGroup/glTF/tree/master/specification/2.0#textures + * @param {number} textureIndex + * @return {Promise} + */ + GLTFParser.prototype.loadTexture = function ( textureIndex ) { + + var parser = this; + var json = this.json; + var options = this.options; + + var textureDef = json.textures[ textureIndex ]; + + var textureExtensions = textureDef.extensions || {}; + + var source; + + if ( textureExtensions[ EXTENSIONS.MSFT_TEXTURE_DDS ] ) { + + source = json.images[ textureExtensions[ EXTENSIONS.MSFT_TEXTURE_DDS ].source ]; + + } else { + + source = json.images[ textureDef.source ]; + + } + + var loader; + + if ( source.uri ) { + + loader = options.manager.getHandler( source.uri ); + + } + + if ( ! loader ) { + + loader = textureExtensions[ EXTENSIONS.MSFT_TEXTURE_DDS ] + ? parser.extensions[ EXTENSIONS.MSFT_TEXTURE_DDS ].ddsLoader + : this.textureLoader; + + } + + return this.loadTextureImage( textureIndex, source, loader ); + + }; + + GLTFParser.prototype.loadTextureImage = function ( textureIndex, source, loader ) { + + var parser = this; + var json = this.json; + var options = this.options; + + var textureDef = json.textures[ textureIndex ]; + + var URL = self.URL || self.webkitURL; + + var sourceURI = source.uri; + var isObjectURL = false; + var hasAlpha = true; + + if ( source.mimeType === 'image/jpeg' ) hasAlpha = false; + + if ( source.bufferView !== undefined ) { + + // Load binary image data from bufferView, if provided. + + sourceURI = parser.getDependency( 'bufferView', source.bufferView ).then( function ( bufferView ) { + + if ( source.mimeType === 'image/png' ) { + + // Inspect the PNG 'IHDR' chunk to determine whether the image could have an + // alpha channel. This check is conservative — the image could have an alpha + // channel with all values == 1, and the indexed type (colorType == 3) only + // sometimes contains alpha. + // + // https://en.wikipedia.org/wiki/Portable_Network_Graphics#File_header + var colorType = new DataView( bufferView, 25, 1 ).getUint8( 0, false ); + hasAlpha = colorType === 6 || colorType === 4 || colorType === 3; + + } + + isObjectURL = true; + var blob = new Blob( [ bufferView ], { type: source.mimeType } ); + sourceURI = URL.createObjectURL( blob ); + return sourceURI; + + } ); + + } + + return Promise.resolve( sourceURI ).then( function ( sourceURI ) { + + return new Promise( function ( resolve, reject ) { + + var onLoad = resolve; + + if ( loader.isImageBitmapLoader === true ) { + + onLoad = function ( imageBitmap ) { + + resolve( new CanvasTexture( imageBitmap ) ); + + }; + + } + + loader.load( resolveURL( sourceURI, options.path ), onLoad, undefined, reject ); + + } ); + + } ).then( function ( texture ) { + + // Clean up resources and configure Texture. + + if ( isObjectURL === true ) { + + URL.revokeObjectURL( sourceURI ); + + } + + texture.flipY = false; + + if ( textureDef.name ) texture.name = textureDef.name; + + // When there is definitely no alpha channel in the texture, set RGBFormat to save space. + if ( ! hasAlpha ) texture.format = RGBFormat; + + var samplers = json.samplers || {}; + var sampler = samplers[ textureDef.sampler ] || {}; + + texture.magFilter = WEBGL_FILTERS[ sampler.magFilter ] || LinearFilter; + texture.minFilter = WEBGL_FILTERS[ sampler.minFilter ] || LinearMipmapLinearFilter; + texture.wrapS = WEBGL_WRAPPINGS[ sampler.wrapS ] || RepeatWrapping; + texture.wrapT = WEBGL_WRAPPINGS[ sampler.wrapT ] || RepeatWrapping; + + parser.associations.set( texture, { + type: 'textures', + index: textureIndex + } ); + + return texture; + + } ); + + }; + + /** + * Asynchronously assigns a texture to the given material parameters. + * @param {Object} materialParams + * @param {string} mapName + * @param {Object} mapDef + * @return {Promise} + */ + GLTFParser.prototype.assignTexture = function ( materialParams, mapName, mapDef ) { + + var parser = this; + + return this.getDependency( 'texture', mapDef.index ).then( function ( texture ) { + + // Materials sample aoMap from UV set 1 and other maps from UV set 0 - this can't be configured + // However, we will copy UV set 0 to UV set 1 on demand for aoMap + if ( mapDef.texCoord !== undefined && mapDef.texCoord != 0 && ! ( mapName === 'aoMap' && mapDef.texCoord == 1 ) ) { + + console.warn( 'THREE.GLTFLoader: Custom UV set ' + mapDef.texCoord + ' for texture ' + mapName + ' not yet supported.' ); + + } + + if ( parser.extensions[ EXTENSIONS.KHR_TEXTURE_TRANSFORM ] ) { + + var transform = mapDef.extensions !== undefined ? mapDef.extensions[ EXTENSIONS.KHR_TEXTURE_TRANSFORM ] : undefined; + + if ( transform ) { + + var gltfReference = parser.associations.get( texture ); + texture = parser.extensions[ EXTENSIONS.KHR_TEXTURE_TRANSFORM ].extendTexture( texture, transform ); + parser.associations.set( texture, gltfReference ); + + } + + } + + materialParams[ mapName ] = texture; + + } ); + + }; + + /** + * Assigns final material to a Mesh, Line, or Points instance. The instance + * already has a material (generated from the glTF material options alone) + * but reuse of the same glTF material may require multiple threejs materials + * to accomodate different primitive types, defines, etc. New materials will + * be created if necessary, and reused from a cache. + * @param {Object3D} mesh Mesh, Line, or Points instance. + */ + GLTFParser.prototype.assignFinalMaterial = function ( mesh ) { + + var geometry = mesh.geometry; + var material = mesh.material; + + var useVertexTangents = geometry.attributes.tangent !== undefined; + var useVertexColors = geometry.attributes.color !== undefined; + var useFlatShading = geometry.attributes.normal === undefined; + var useSkinning = mesh.isSkinnedMesh === true; + var useMorphTargets = Object.keys( geometry.morphAttributes ).length > 0; + var useMorphNormals = useMorphTargets && geometry.morphAttributes.normal !== undefined; + + if ( mesh.isPoints ) { + + var cacheKey = 'PointsMaterial:' + material.uuid; + + var pointsMaterial = this.cache.get( cacheKey ); + + if ( ! pointsMaterial ) { + + pointsMaterial = new PointsMaterial(); + Material.prototype.copy.call( pointsMaterial, material ); + pointsMaterial.color.copy( material.color ); + pointsMaterial.map = material.map; + pointsMaterial.sizeAttenuation = false; // glTF spec says points should be 1px + + this.cache.add( cacheKey, pointsMaterial ); + + } + + material = pointsMaterial; + + } else if ( mesh.isLine ) { + + var cacheKey = 'LineBasicMaterial:' + material.uuid; + + var lineMaterial = this.cache.get( cacheKey ); + + if ( ! lineMaterial ) { + + lineMaterial = new LineBasicMaterial(); + Material.prototype.copy.call( lineMaterial, material ); + lineMaterial.color.copy( material.color ); + + this.cache.add( cacheKey, lineMaterial ); + + } + + material = lineMaterial; + + } + + // Clone the material if it will be modified + if ( useVertexTangents || useVertexColors || useFlatShading || useSkinning || useMorphTargets ) { + + var cacheKey = 'ClonedMaterial:' + material.uuid + ':'; + + if ( material.isGLTFSpecularGlossinessMaterial ) cacheKey += 'specular-glossiness:'; + if ( useSkinning ) cacheKey += 'skinning:'; + if ( useVertexTangents ) cacheKey += 'vertex-tangents:'; + if ( useVertexColors ) cacheKey += 'vertex-colors:'; + if ( useFlatShading ) cacheKey += 'flat-shading:'; + if ( useMorphTargets ) cacheKey += 'morph-targets:'; + if ( useMorphNormals ) cacheKey += 'morph-normals:'; + + var cachedMaterial = this.cache.get( cacheKey ); + + if ( ! cachedMaterial ) { + + cachedMaterial = material.clone(); + + if ( useSkinning ) cachedMaterial.skinning = true; + if ( useVertexTangents ) cachedMaterial.vertexTangents = true; + if ( useVertexColors ) cachedMaterial.vertexColors = true; + if ( useFlatShading ) cachedMaterial.flatShading = true; + if ( useMorphTargets ) cachedMaterial.morphTargets = true; + if ( useMorphNormals ) cachedMaterial.morphNormals = true; + + this.cache.add( cacheKey, cachedMaterial ); + + this.associations.set( cachedMaterial, this.associations.get( material ) ); + + } + + material = cachedMaterial; + + } + + // workarounds for mesh and geometry + + if ( material.aoMap && geometry.attributes.uv2 === undefined && geometry.attributes.uv !== undefined ) { + + geometry.setAttribute( 'uv2', geometry.attributes.uv ); + + } + + // https://github.com/mrdoob/three.js/issues/11438#issuecomment-507003995 + if ( material.normalScale && ! useVertexTangents ) { + + material.normalScale.y = - material.normalScale.y; + + } + + if ( material.clearcoatNormalScale && ! useVertexTangents ) { + + material.clearcoatNormalScale.y = - material.clearcoatNormalScale.y; + + } + + mesh.material = material; + + }; + + GLTFParser.prototype.getMaterialType = function ( /* materialIndex */ ) { + + return MeshStandardMaterial; + + }; + + /** + * Specification: https://github.com/KhronosGroup/glTF/blob/master/specification/2.0/README.md#materials + * @param {number} materialIndex + * @return {Promise} + */ + GLTFParser.prototype.loadMaterial = function ( materialIndex ) { + + var parser = this; + var json = this.json; + var extensions = this.extensions; + var materialDef = json.materials[ materialIndex ]; + + var materialType; + var materialParams = {}; + var materialExtensions = materialDef.extensions || {}; + + var pending = []; + + if ( materialExtensions[ EXTENSIONS.KHR_MATERIALS_PBR_SPECULAR_GLOSSINESS ] ) { + + var sgExtension = extensions[ EXTENSIONS.KHR_MATERIALS_PBR_SPECULAR_GLOSSINESS ]; + materialType = sgExtension.getMaterialType(); + pending.push( sgExtension.extendParams( materialParams, materialDef, parser ) ); + + } else if ( materialExtensions[ EXTENSIONS.KHR_MATERIALS_UNLIT ] ) { + + var kmuExtension = extensions[ EXTENSIONS.KHR_MATERIALS_UNLIT ]; + materialType = kmuExtension.getMaterialType(); + pending.push( kmuExtension.extendParams( materialParams, materialDef, parser ) ); + + } else { + + // Specification: + // https://github.com/KhronosGroup/glTF/tree/master/specification/2.0#metallic-roughness-material + + var metallicRoughness = materialDef.pbrMetallicRoughness || {}; + + materialParams.color = new Color( 1.0, 1.0, 1.0 ); + materialParams.opacity = 1.0; + + if ( Array.isArray( metallicRoughness.baseColorFactor ) ) { + + var array = metallicRoughness.baseColorFactor; + + materialParams.color.fromArray( array ); + materialParams.opacity = array[ 3 ]; + + } + + if ( metallicRoughness.baseColorTexture !== undefined ) { + + pending.push( parser.assignTexture( materialParams, 'map', metallicRoughness.baseColorTexture ) ); + + } + + materialParams.metalness = metallicRoughness.metallicFactor !== undefined ? metallicRoughness.metallicFactor : 1.0; + materialParams.roughness = metallicRoughness.roughnessFactor !== undefined ? metallicRoughness.roughnessFactor : 1.0; + + if ( metallicRoughness.metallicRoughnessTexture !== undefined ) { + + pending.push( parser.assignTexture( materialParams, 'metalnessMap', metallicRoughness.metallicRoughnessTexture ) ); + pending.push( parser.assignTexture( materialParams, 'roughnessMap', metallicRoughness.metallicRoughnessTexture ) ); + + } + + materialType = this._invokeOne( function ( ext ) { + + return ext.getMaterialType && ext.getMaterialType( materialIndex ); + + } ); + + pending.push( Promise.all( this._invokeAll( function ( ext ) { + + return ext.extendMaterialParams && ext.extendMaterialParams( materialIndex, materialParams ); + + } ) ) ); + + } + + if ( materialDef.doubleSided === true ) { + + materialParams.side = DoubleSide; + + } + + var alphaMode = materialDef.alphaMode || ALPHA_MODES.OPAQUE; + + if ( alphaMode === ALPHA_MODES.BLEND ) { + + materialParams.transparent = true; + + // See: https://github.com/mrdoob/three.js/issues/17706 + materialParams.depthWrite = false; + + } else { + + materialParams.transparent = false; + + if ( alphaMode === ALPHA_MODES.MASK ) { + + materialParams.alphaTest = materialDef.alphaCutoff !== undefined ? materialDef.alphaCutoff : 0.5; + + } + + } + + if ( materialDef.normalTexture !== undefined && materialType !== MeshBasicMaterial ) { + + pending.push( parser.assignTexture( materialParams, 'normalMap', materialDef.normalTexture ) ); + + materialParams.normalScale = new Vector2( 1, 1 ); + + if ( materialDef.normalTexture.scale !== undefined ) { + + materialParams.normalScale.set( materialDef.normalTexture.scale, materialDef.normalTexture.scale ); + + } + + } + + if ( materialDef.occlusionTexture !== undefined && materialType !== MeshBasicMaterial ) { + + pending.push( parser.assignTexture( materialParams, 'aoMap', materialDef.occlusionTexture ) ); + + if ( materialDef.occlusionTexture.strength !== undefined ) { + + materialParams.aoMapIntensity = materialDef.occlusionTexture.strength; + + } + + } + + if ( materialDef.emissiveFactor !== undefined && materialType !== MeshBasicMaterial ) { + + materialParams.emissive = new Color().fromArray( materialDef.emissiveFactor ); + + } + + if ( materialDef.emissiveTexture !== undefined && materialType !== MeshBasicMaterial ) { + + pending.push( parser.assignTexture( materialParams, 'emissiveMap', materialDef.emissiveTexture ) ); + + } + + return Promise.all( pending ).then( function () { + + var material; + + if ( materialType === GLTFMeshStandardSGMaterial ) { + + material = extensions[ EXTENSIONS.KHR_MATERIALS_PBR_SPECULAR_GLOSSINESS ].createMaterial( materialParams ); + + } else { + + material = new materialType( materialParams ); + + } + + if ( materialDef.name ) material.name = materialDef.name; + + // baseColorTexture, emissiveTexture, and specularGlossinessTexture use sRGB encoding. + if ( material.map ) material.map.encoding = sRGBEncoding; + if ( material.emissiveMap ) material.emissiveMap.encoding = sRGBEncoding; + + assignExtrasToUserData( material, materialDef ); + + parser.associations.set( material, { type: 'materials', index: materialIndex } ); + + if ( materialDef.extensions ) addUnknownExtensionsToUserData( extensions, material, materialDef ); + + return material; + + } ); + + }; + + /** When Object3D instances are targeted by animation, they need unique names. */ + GLTFParser.prototype.createUniqueName = function ( originalName ) { + + var name = PropertyBinding.sanitizeNodeName( originalName || '' ); + + for ( var i = 1; this.nodeNamesUsed[ name ]; ++ i ) { + + name = originalName + '_' + i; + + } + + this.nodeNamesUsed[ name ] = true; + + return name; + + }; + + /** + * @param {BufferGeometry} geometry + * @param {GLTF.Primitive} primitiveDef + * @param {GLTFParser} parser + */ + function computeBounds( geometry, primitiveDef, parser ) { + + var attributes = primitiveDef.attributes; + + var box = new Box3(); + + if ( attributes.POSITION !== undefined ) { + + var accessor = parser.json.accessors[ attributes.POSITION ]; + + var min = accessor.min; + var max = accessor.max; + + // glTF requires 'min' and 'max', but VRM (which extends glTF) currently ignores that requirement. + + if ( min !== undefined && max !== undefined ) { + + box.set( + new Vector3( min[ 0 ], min[ 1 ], min[ 2 ] ), + new Vector3( max[ 0 ], max[ 1 ], max[ 2 ] ) ); + + } else { + + console.warn( 'THREE.GLTFLoader: Missing min/max properties for accessor POSITION.' ); + + return; + + } + + } else { + + return; + + } + + var targets = primitiveDef.targets; + + if ( targets !== undefined ) { + + var maxDisplacement = new Vector3(); + var vector = new Vector3(); + + for ( var i = 0, il = targets.length; i < il; i ++ ) { + + var target = targets[ i ]; + + if ( target.POSITION !== undefined ) { + + var accessor = parser.json.accessors[ target.POSITION ]; + var min = accessor.min; + var max = accessor.max; + + // glTF requires 'min' and 'max', but VRM (which extends glTF) currently ignores that requirement. + + if ( min !== undefined && max !== undefined ) { + + // we need to get max of absolute components because target weight is [-1,1] + vector.setX( Math.max( Math.abs( min[ 0 ] ), Math.abs( max[ 0 ] ) ) ); + vector.setY( Math.max( Math.abs( min[ 1 ] ), Math.abs( max[ 1 ] ) ) ); + vector.setZ( Math.max( Math.abs( min[ 2 ] ), Math.abs( max[ 2 ] ) ) ); + + // Note: this assumes that the sum of all weights is at most 1. This isn't quite correct - it's more conservative + // to assume that each target can have a max weight of 1. However, for some use cases - notably, when morph targets + // are used to implement key-frame animations and as such only two are active at a time - this results in very large + // boxes. So for now we make a box that's sometimes a touch too small but is hopefully mostly of reasonable size. + maxDisplacement.max( vector ); + + } else { + + console.warn( 'THREE.GLTFLoader: Missing min/max properties for accessor POSITION.' ); + + } + + } + + } + + // As per comment above this box isn't conservative, but has a reasonable size for a very large number of morph targets. + box.expandByVector( maxDisplacement ); + + } + + geometry.boundingBox = box; + + var sphere = new Sphere(); + + box.getCenter( sphere.center ); + sphere.radius = box.min.distanceTo( box.max ) / 2; + + geometry.boundingSphere = sphere; + + } + + /** + * @param {BufferGeometry} geometry + * @param {GLTF.Primitive} primitiveDef + * @param {GLTFParser} parser + * @return {Promise} + */ + function addPrimitiveAttributes( geometry, primitiveDef, parser ) { + + var attributes = primitiveDef.attributes; + + var pending = []; + + function assignAttributeAccessor( accessorIndex, attributeName ) { + + return parser.getDependency( 'accessor', accessorIndex ) + .then( function ( accessor ) { + + geometry.setAttribute( attributeName, accessor ); + + } ); + + } + + for ( var gltfAttributeName in attributes ) { + + var threeAttributeName = ATTRIBUTES[ gltfAttributeName ] || gltfAttributeName.toLowerCase(); + + // Skip attributes already provided by e.g. Draco extension. + if ( threeAttributeName in geometry.attributes ) continue; + + pending.push( assignAttributeAccessor( attributes[ gltfAttributeName ], threeAttributeName ) ); + + } + + if ( primitiveDef.indices !== undefined && ! geometry.index ) { + + var accessor = parser.getDependency( 'accessor', primitiveDef.indices ).then( function ( accessor ) { + + geometry.setIndex( accessor ); + + } ); + + pending.push( accessor ); + + } + + assignExtrasToUserData( geometry, primitiveDef ); + + computeBounds( geometry, primitiveDef, parser ); + + return Promise.all( pending ).then( function () { + + return primitiveDef.targets !== undefined + ? addMorphTargets( geometry, primitiveDef.targets, parser ) + : geometry; + + } ); + + } + + /** + * @param {BufferGeometry} geometry + * @param {Number} drawMode + * @return {BufferGeometry} + */ + function toTrianglesDrawMode( geometry, drawMode ) { + + var index = geometry.getIndex(); + + // generate index if not present + + if ( index === null ) { + + var indices = []; + + var position = geometry.getAttribute( 'position' ); + + if ( position !== undefined ) { + + for ( var i = 0; i < position.count; i ++ ) { + + indices.push( i ); + + } + + geometry.setIndex( indices ); + index = geometry.getIndex(); + + } else { + + console.error( 'THREE.GLTFLoader.toTrianglesDrawMode(): Undefined position attribute. Processing not possible.' ); + return geometry; + + } + + } + + // + + var numberOfTriangles = index.count - 2; + var newIndices = []; + + if ( drawMode === TriangleFanDrawMode ) { + + // gl.TRIANGLE_FAN + + for ( var i = 1; i <= numberOfTriangles; i ++ ) { + + newIndices.push( index.getX( 0 ) ); + newIndices.push( index.getX( i ) ); + newIndices.push( index.getX( i + 1 ) ); + + } + + } else { + + // gl.TRIANGLE_STRIP + + for ( var i = 0; i < numberOfTriangles; i ++ ) { + + if ( i % 2 === 0 ) { + + newIndices.push( index.getX( i ) ); + newIndices.push( index.getX( i + 1 ) ); + newIndices.push( index.getX( i + 2 ) ); + + + } else { + + newIndices.push( index.getX( i + 2 ) ); + newIndices.push( index.getX( i + 1 ) ); + newIndices.push( index.getX( i ) ); + + } + + } + + } + + if ( ( newIndices.length / 3 ) !== numberOfTriangles ) { + + console.error( 'THREE.GLTFLoader.toTrianglesDrawMode(): Unable to generate correct amount of triangles.' ); + + } + + // build final geometry + + var newGeometry = geometry.clone(); + newGeometry.setIndex( newIndices ); + + return newGeometry; + + } + + /** + * Specification: https://github.com/KhronosGroup/glTF/blob/master/specification/2.0/README.md#geometry + * + * Creates BufferGeometries from primitives. + * + * @param {Array} primitives + * @return {Promise>} + */ + GLTFParser.prototype.loadGeometries = function ( primitives ) { + + var parser = this; + var extensions = this.extensions; + var cache = this.primitiveCache; + + function createDracoPrimitive( primitive ) { + + return extensions[ EXTENSIONS.KHR_DRACO_MESH_COMPRESSION ] + .decodePrimitive( primitive, parser ) + .then( function ( geometry ) { + + return addPrimitiveAttributes( geometry, primitive, parser ); + + } ); + + } + + var pending = []; + + for ( var i = 0, il = primitives.length; i < il; i ++ ) { + + var primitive = primitives[ i ]; + var cacheKey = createPrimitiveKey( primitive ); + + // See if we've already created this geometry + var cached = cache[ cacheKey ]; + + if ( cached ) { + + // Use the cached geometry if it exists + pending.push( cached.promise ); + + } else { + + var geometryPromise; + + if ( primitive.extensions && primitive.extensions[ EXTENSIONS.KHR_DRACO_MESH_COMPRESSION ] ) { + + // Use DRACO geometry if available + geometryPromise = createDracoPrimitive( primitive ); + + } else { + + // Otherwise create a new geometry + geometryPromise = addPrimitiveAttributes( new BufferGeometry(), primitive, parser ); + + } + + // Cache this geometry + cache[ cacheKey ] = { primitive: primitive, promise: geometryPromise }; + + pending.push( geometryPromise ); + + } + + } + + return Promise.all( pending ); + + }; + + /** + * Specification: https://github.com/KhronosGroup/glTF/blob/master/specification/2.0/README.md#meshes + * @param {number} meshIndex + * @return {Promise} + */ + GLTFParser.prototype.loadMesh = function ( meshIndex ) { + + var parser = this; + var json = this.json; + + var meshDef = json.meshes[ meshIndex ]; + var primitives = meshDef.primitives; + + var pending = []; + + for ( var i = 0, il = primitives.length; i < il; i ++ ) { + + var material = primitives[ i ].material === undefined + ? createDefaultMaterial( this.cache ) + : this.getDependency( 'material', primitives[ i ].material ); + + pending.push( material ); + + } + + pending.push( parser.loadGeometries( primitives ) ); + + return Promise.all( pending ).then( function ( results ) { + + var materials = results.slice( 0, results.length - 1 ); + var geometries = results[ results.length - 1 ]; + + var meshes = []; + + for ( var i = 0, il = geometries.length; i < il; i ++ ) { + + var geometry = geometries[ i ]; + var primitive = primitives[ i ]; + + // 1. create Mesh + + var mesh; + + var material = materials[ i ]; + + if ( primitive.mode === WEBGL_CONSTANTS.TRIANGLES || + primitive.mode === WEBGL_CONSTANTS.TRIANGLE_STRIP || + primitive.mode === WEBGL_CONSTANTS.TRIANGLE_FAN || + primitive.mode === undefined ) { + + // .isSkinnedMesh isn't in glTF spec. See ._markDefs() + mesh = meshDef.isSkinnedMesh === true + ? new SkinnedMesh( geometry, material ) + : new Mesh( geometry, material ); + + if ( mesh.isSkinnedMesh === true && ! mesh.geometry.attributes.skinWeight.normalized ) { + + // we normalize floating point skin weight array to fix malformed assets (see #15319) + // it's important to skip this for non-float32 data since normalizeSkinWeights assumes non-normalized inputs + mesh.normalizeSkinWeights(); + + } + + if ( primitive.mode === WEBGL_CONSTANTS.TRIANGLE_STRIP ) { + + mesh.geometry = toTrianglesDrawMode( mesh.geometry, TriangleStripDrawMode ); + + } else if ( primitive.mode === WEBGL_CONSTANTS.TRIANGLE_FAN ) { + + mesh.geometry = toTrianglesDrawMode( mesh.geometry, TriangleFanDrawMode ); + + } + + } else if ( primitive.mode === WEBGL_CONSTANTS.LINES ) { + + mesh = new LineSegments( geometry, material ); + + } else if ( primitive.mode === WEBGL_CONSTANTS.LINE_STRIP ) { + + mesh = new Line( geometry, material ); + + } else if ( primitive.mode === WEBGL_CONSTANTS.LINE_LOOP ) { + + mesh = new LineLoop( geometry, material ); + + } else if ( primitive.mode === WEBGL_CONSTANTS.POINTS ) { + + mesh = new Points( geometry, material ); + + } else { + + throw new Error( 'THREE.GLTFLoader: Primitive mode unsupported: ' + primitive.mode ); + + } + + if ( Object.keys( mesh.geometry.morphAttributes ).length > 0 ) { + + updateMorphTargets( mesh, meshDef ); + + } + + mesh.name = parser.createUniqueName( meshDef.name || ( 'mesh_' + meshIndex ) ); + + if ( geometries.length > 1 ) mesh.name += '_' + i; + + assignExtrasToUserData( mesh, meshDef ); + + parser.assignFinalMaterial( mesh ); + + meshes.push( mesh ); + + } + + if ( meshes.length === 1 ) { + + return meshes[ 0 ]; + + } + + var group = new Group(); + + for ( var i = 0, il = meshes.length; i < il; i ++ ) { + + group.add( meshes[ i ] ); + + } + + return group; + + } ); + + }; + + /** + * Specification: https://github.com/KhronosGroup/glTF/tree/master/specification/2.0#cameras + * @param {number} cameraIndex + * @return {Promise} + */ + GLTFParser.prototype.loadCamera = function ( cameraIndex ) { + + var camera; + var cameraDef = this.json.cameras[ cameraIndex ]; + var params = cameraDef[ cameraDef.type ]; + + if ( ! params ) { + + console.warn( 'THREE.GLTFLoader: Missing camera parameters.' ); + return; + + } + + if ( cameraDef.type === 'perspective' ) { + + camera = new PerspectiveCamera( MathUtils.radToDeg( params.yfov ), params.aspectRatio || 1, params.znear || 1, params.zfar || 2e6 ); + + } else if ( cameraDef.type === 'orthographic' ) { + + camera = new OrthographicCamera( - params.xmag, params.xmag, params.ymag, - params.ymag, params.znear, params.zfar ); + + } + + if ( cameraDef.name ) camera.name = this.createUniqueName( cameraDef.name ); + + assignExtrasToUserData( camera, cameraDef ); + + return Promise.resolve( camera ); + + }; + + /** + * Specification: https://github.com/KhronosGroup/glTF/tree/master/specification/2.0#skins + * @param {number} skinIndex + * @return {Promise} + */ + GLTFParser.prototype.loadSkin = function ( skinIndex ) { + + var skinDef = this.json.skins[ skinIndex ]; + + var skinEntry = { joints: skinDef.joints }; + + if ( skinDef.inverseBindMatrices === undefined ) { + + return Promise.resolve( skinEntry ); + + } + + return this.getDependency( 'accessor', skinDef.inverseBindMatrices ).then( function ( accessor ) { + + skinEntry.inverseBindMatrices = accessor; + + return skinEntry; + + } ); + + }; + + /** + * Specification: https://github.com/KhronosGroup/glTF/tree/master/specification/2.0#animations + * @param {number} animationIndex + * @return {Promise} + */ + GLTFParser.prototype.loadAnimation = function ( animationIndex ) { + + var json = this.json; + + var animationDef = json.animations[ animationIndex ]; + + var pendingNodes = []; + var pendingInputAccessors = []; + var pendingOutputAccessors = []; + var pendingSamplers = []; + var pendingTargets = []; + + for ( var i = 0, il = animationDef.channels.length; i < il; i ++ ) { + + var channel = animationDef.channels[ i ]; + var sampler = animationDef.samplers[ channel.sampler ]; + var target = channel.target; + var name = target.node !== undefined ? target.node : target.id; // NOTE: target.id is deprecated. + var input = animationDef.parameters !== undefined ? animationDef.parameters[ sampler.input ] : sampler.input; + var output = animationDef.parameters !== undefined ? animationDef.parameters[ sampler.output ] : sampler.output; + + pendingNodes.push( this.getDependency( 'node', name ) ); + pendingInputAccessors.push( this.getDependency( 'accessor', input ) ); + pendingOutputAccessors.push( this.getDependency( 'accessor', output ) ); + pendingSamplers.push( sampler ); + pendingTargets.push( target ); + + } + + return Promise.all( [ + + Promise.all( pendingNodes ), + Promise.all( pendingInputAccessors ), + Promise.all( pendingOutputAccessors ), + Promise.all( pendingSamplers ), + Promise.all( pendingTargets ) + + ] ).then( function ( dependencies ) { + + var nodes = dependencies[ 0 ]; + var inputAccessors = dependencies[ 1 ]; + var outputAccessors = dependencies[ 2 ]; + var samplers = dependencies[ 3 ]; + var targets = dependencies[ 4 ]; + + var tracks = []; + + for ( var i = 0, il = nodes.length; i < il; i ++ ) { + + var node = nodes[ i ]; + var inputAccessor = inputAccessors[ i ]; + var outputAccessor = outputAccessors[ i ]; + var sampler = samplers[ i ]; + var target = targets[ i ]; + + if ( node === undefined ) continue; + + node.updateMatrix(); + node.matrixAutoUpdate = true; + + var TypedKeyframeTrack; + + switch ( PATH_PROPERTIES[ target.path ] ) { + + case PATH_PROPERTIES.weights: + + TypedKeyframeTrack = NumberKeyframeTrack; + break; + + case PATH_PROPERTIES.rotation: + + TypedKeyframeTrack = QuaternionKeyframeTrack; + break; + + case PATH_PROPERTIES.position: + case PATH_PROPERTIES.scale: + default: + + TypedKeyframeTrack = VectorKeyframeTrack; + break; + + } + + var targetName = node.name ? node.name : node.uuid; + + var interpolation = sampler.interpolation !== undefined ? INTERPOLATION[ sampler.interpolation ] : InterpolateLinear; + + var targetNames = []; + + if ( PATH_PROPERTIES[ target.path ] === PATH_PROPERTIES.weights ) { + + // Node may be a Group (glTF mesh with several primitives) or a Mesh. + node.traverse( function ( object ) { + + if ( object.isMesh === true && object.morphTargetInfluences ) { + + targetNames.push( object.name ? object.name : object.uuid ); + + } + + } ); + + } else { + + targetNames.push( targetName ); + + } + + var outputArray = outputAccessor.array; + + if ( outputAccessor.normalized ) { + + var scale; + + if ( outputArray.constructor === Int8Array ) { + + scale = 1 / 127; + + } else if ( outputArray.constructor === Uint8Array ) { + + scale = 1 / 255; + + } else if ( outputArray.constructor == Int16Array ) { + + scale = 1 / 32767; + + } else if ( outputArray.constructor === Uint16Array ) { + + scale = 1 / 65535; + + } else { + + throw new Error( 'THREE.GLTFLoader: Unsupported output accessor component type.' ); + + } + + var scaled = new Float32Array( outputArray.length ); + + for ( var j = 0, jl = outputArray.length; j < jl; j ++ ) { + + scaled[ j ] = outputArray[ j ] * scale; + + } + + outputArray = scaled; + + } + + for ( var j = 0, jl = targetNames.length; j < jl; j ++ ) { + + var track = new TypedKeyframeTrack( + targetNames[ j ] + '.' + PATH_PROPERTIES[ target.path ], + inputAccessor.array, + outputArray, + interpolation + ); + + // Override interpolation with custom factory method. + if ( sampler.interpolation === 'CUBICSPLINE' ) { + + track.createInterpolant = function InterpolantFactoryMethodGLTFCubicSpline( result ) { + + // A CUBICSPLINE keyframe in glTF has three output values for each input value, + // representing inTangent, splineVertex, and outTangent. As a result, track.getValueSize() + // must be divided by three to get the interpolant's sampleSize argument. + + return new GLTFCubicSplineInterpolant( this.times, this.values, this.getValueSize() / 3, result ); + + }; + + // Mark as CUBICSPLINE. `track.getInterpolation()` doesn't support custom interpolants. + track.createInterpolant.isInterpolantFactoryMethodGLTFCubicSpline = true; + + } + + tracks.push( track ); + + } + + } + + var name = animationDef.name ? animationDef.name : 'animation_' + animationIndex; + + return new AnimationClip( name, undefined, tracks ); + + } ); + + }; + + /** + * Specification: https://github.com/KhronosGroup/glTF/tree/master/specification/2.0#nodes-and-hierarchy + * @param {number} nodeIndex + * @return {Promise} + */ + GLTFParser.prototype.loadNode = function ( nodeIndex ) { + + var json = this.json; + var extensions = this.extensions; + var parser = this; + + var nodeDef = json.nodes[ nodeIndex ]; + + // reserve node's name before its dependencies, so the root has the intended name. + var nodeName = nodeDef.name ? parser.createUniqueName( nodeDef.name ) : ''; + + return ( function () { + + var pending = []; + + if ( nodeDef.mesh !== undefined ) { + + pending.push( parser.getDependency( 'mesh', nodeDef.mesh ).then( function ( mesh ) { + + var node = parser._getNodeRef( parser.meshCache, nodeDef.mesh, mesh ); + + // if weights are provided on the node, override weights on the mesh. + if ( nodeDef.weights !== undefined ) { + + node.traverse( function ( o ) { + + if ( ! o.isMesh ) return; + + for ( var i = 0, il = nodeDef.weights.length; i < il; i ++ ) { + + o.morphTargetInfluences[ i ] = nodeDef.weights[ i ]; + + } + + } ); + + } + + return node; + + } ) ); + + } + + if ( nodeDef.camera !== undefined ) { + + pending.push( parser.getDependency( 'camera', nodeDef.camera ).then( function ( camera ) { + + return parser._getNodeRef( parser.cameraCache, nodeDef.camera, camera ); + + } ) ); + + } + + parser._invokeAll( function ( ext ) { + + return ext.createNodeAttachment && ext.createNodeAttachment( nodeIndex ); + + } ).forEach( function ( promise ) { + + pending.push( promise ); + + } ); + + return Promise.all( pending ); + + }() ).then( function ( objects ) { + + var node; + + // .isBone isn't in glTF spec. See ._markDefs + if ( nodeDef.isBone === true ) { + + node = new Bone(); + + } else if ( objects.length > 1 ) { + + node = new Group(); + + } else if ( objects.length === 1 ) { + + node = objects[ 0 ]; + + } else { + + node = new Object3D(); + + } + + if ( node !== objects[ 0 ] ) { + + for ( var i = 0, il = objects.length; i < il; i ++ ) { + + node.add( objects[ i ] ); + + } + + } + + if ( nodeDef.name ) { + + node.userData.name = nodeDef.name; + node.name = nodeName; + + } + + assignExtrasToUserData( node, nodeDef ); + + if ( nodeDef.extensions ) addUnknownExtensionsToUserData( extensions, node, nodeDef ); + + if ( nodeDef.matrix !== undefined ) { + + var matrix = new Matrix4(); + matrix.fromArray( nodeDef.matrix ); + node.applyMatrix4( matrix ); + + } else { + + if ( nodeDef.translation !== undefined ) { + + node.position.fromArray( nodeDef.translation ); + + } + + if ( nodeDef.rotation !== undefined ) { + + node.quaternion.fromArray( nodeDef.rotation ); + + } + + if ( nodeDef.scale !== undefined ) { + + node.scale.fromArray( nodeDef.scale ); + + } + + } + + parser.associations.set( node, { type: 'nodes', index: nodeIndex } ); + + return node; + + } ); + + }; + + /** + * Specification: https://github.com/KhronosGroup/glTF/tree/master/specification/2.0#scenes + * @param {number} sceneIndex + * @return {Promise} + */ + GLTFParser.prototype.loadScene = function () { + + // scene node hierachy builder + + function buildNodeHierachy( nodeId, parentObject, json, parser ) { + + var nodeDef = json.nodes[ nodeId ]; + + return parser.getDependency( 'node', nodeId ).then( function ( node ) { + + if ( nodeDef.skin === undefined ) return node; + + // build skeleton here as well + + var skinEntry; + + return parser.getDependency( 'skin', nodeDef.skin ).then( function ( skin ) { + + skinEntry = skin; + + var pendingJoints = []; + + for ( var i = 0, il = skinEntry.joints.length; i < il; i ++ ) { + + pendingJoints.push( parser.getDependency( 'node', skinEntry.joints[ i ] ) ); + + } + + return Promise.all( pendingJoints ); + + } ).then( function ( jointNodes ) { + + node.traverse( function ( mesh ) { + + if ( ! mesh.isMesh ) return; + + var bones = []; + var boneInverses = []; + + for ( var j = 0, jl = jointNodes.length; j < jl; j ++ ) { + + var jointNode = jointNodes[ j ]; + + if ( jointNode ) { + + bones.push( jointNode ); + + var mat = new Matrix4(); + + if ( skinEntry.inverseBindMatrices !== undefined ) { + + mat.fromArray( skinEntry.inverseBindMatrices.array, j * 16 ); + + } + + boneInverses.push( mat ); + + } else { + + console.warn( 'THREE.GLTFLoader: Joint "%s" could not be found.', skinEntry.joints[ j ] ); + + } + + } + + mesh.bind( new Skeleton( bones, boneInverses ), mesh.matrixWorld ); + + } ); + + return node; + + } ); + + } ).then( function ( node ) { + + // build node hierachy + + parentObject.add( node ); + + var pending = []; + + if ( nodeDef.children ) { + + var children = nodeDef.children; + + for ( var i = 0, il = children.length; i < il; i ++ ) { + + var child = children[ i ]; + pending.push( buildNodeHierachy( child, node, json, parser ) ); + + } + + } + + return Promise.all( pending ); + + } ); + + } + + return function loadScene( sceneIndex ) { + + var json = this.json; + var extensions = this.extensions; + var sceneDef = this.json.scenes[ sceneIndex ]; + var parser = this; + + // Loader returns Group, not Scene. + // See: https://github.com/mrdoob/three.js/issues/18342#issuecomment-578981172 + var scene = new Group(); + if ( sceneDef.name ) scene.name = parser.createUniqueName( sceneDef.name ); + + assignExtrasToUserData( scene, sceneDef ); + + if ( sceneDef.extensions ) addUnknownExtensionsToUserData( extensions, scene, sceneDef ); + + var nodeIds = sceneDef.nodes || []; + + var pending = []; + + for ( var i = 0, il = nodeIds.length; i < il; i ++ ) { + + pending.push( buildNodeHierachy( nodeIds[ i ], scene, json, parser ) ); + + } + + return Promise.all( pending ).then( function () { + + return scene; + + } ); + + }; + + }(); + + return GLTFLoader; + +} )(); + +export { GLTFLoader }; diff --git a/RESURGENCE/RESURGENCE.txt b/RESURGENCE/RESURGENCE.txt new file mode 100644 index 0000000..ada8a82 --- /dev/null +++ b/RESURGENCE/RESURGENCE.txt @@ -0,0 +1,55 @@ +RESURGENCE | Isabelle Stengers + +“We are the grandchildren of the witches you were not able to burn” +– Tish Thawer + +I will take this motto, which has flourished in recent protests in the United States, as the defiant cry of resurgence – refusing to define the past as dead and buried. Not only were the witches killed all over Europe, but their memory has been buried by the many retrospective analyses which triumphantly concluded that their power and practices were a matter of imaginary collective construction affecting both the victims and the inquisitors. Eco-feminists have proposed a very different understanding of the ‘burning times.’ They associate it with the destruction of rural cultures and their old rites, with the violent appropriation of the commons, with the rule of a law that consecrated the unquestionable rights of the owner, and with the invention of the modern workers who can only sell their labour-power on the market as a commodity. Listening to the defiant cry of the women who name themselves granddaughters of the past witches, I will go further. I will honour the vision which, since the Reagan era, has sustained reclaiming witches such as Starhawk, who associate their activism with the memory of a past earth-based religion of the goddess - who now ‘returns.’ Against the ongoing academic critical judgement, I claim that the witches’ resurgence, their chant about the goddess’ return, and inseparably their return to the goddess, should not be taken as a ‘regression.’ + + +Given the threatening unknown our future is facing, the question of academic judgements may seem like a rather futile one. Very few, including academics themselves, among those who disqualify the resurgence of witches as regressive, are effectively forced to think by this future, which the witches resolutely address. They are too busy living up to the relentless neoliberal demands which they have now to satisfy in order to survive. However, if there is something to be learned from the past, it may well be the way in which defending the victims of eradicative operations has so often deemed futile. In one way or another, these victims deserved their fate, or this fate was the price to be unhappily paid for progress. “Creative destructions,” economists croon. What we have now discovered is that these destructions come with cascading and interconnecting consequences. Worlds are destroyed and no such destruction is ever deserved. This is why I will address the academic world, which, in turns, is facing its own destruction. Probably, because it is the one I know best, also because of its specific responsibility in the formation of the generations which will have to make their way in the future. + + +Resurgence often refers to the reappearance of something defined as deleterious – e.g. an agricultural pest or an epidemic vector – after a seemingly successful operation of eradication. It may also refer to the reworlding of a landscape after a natural catastrophe or a devastating industrial exploitation. Today, such a reworlding is no longer understood by researchers in ecology in terms of the restoration of some stable equilibrium. Ecology has succeeded in freeing itself from the association of what we call “natural” with an ordered reality verifying scientific generalization. In contrast, academic judgements entailing the idea of regression still imply what has been called “The Ascent of Man:” “Man” irrevocably turning his back on past attachments, beliefs, and scruples, affirming his destiny of emancipation from traditions and the order of nature. Even critical humanities including feminist studies, whatever their deconstruction of the imperialist, sexist, and colonialist character of the “Ascent of Man” motto, still do not know how to disentangle themselves from the reference to a rational progress which opposes the possibility of taking seriously the contemporary resurgence of what does not conform to a materialist, that is, secularist, position. + + +If resurgence is a word for the future, it is because we may use it in the way the granddaughters of the witches do: as a challenge to eradicative operations, with which what we call materialism and secularism are irreducibly associated, are still going on today. It is quite possible to inherit the struggle against the oppressive character of religious institutions without forgetting what came together with materialism and secularism; the destruction of what opposed the transition to capitalism both in Europe and in the colonized world.[1] It is quite possible to resist the idea that what was destroyed is irrevocably lost and that we should have the courage to accept this loss. Certainly it cannot be a question of resurrecting the past. What eventually returns is also reinventing itself as it takes root in a new environment, challenging the way it defined its destruction as a fait accompli. In the academic environment, defining as a fait accompli the destruction of the witches might be the only true point of agreement uniting two antagonist powers: those who take as an “objective fact” that the magic they claimed to practice does not exist, and those who understand magic as a cultural-subjective construction belonging to the past. + +[b]Getting rid of the Objectivity – Subjectivity banners[b] + +In the academic world eradicative operations are a routine, performed as ‘methodology’ by researchers who see it as their duty to disentangle situations in order to define them. Some will extract information about human practices only and give (always subjective) meaning to these situations. Others will only look at ‘(objective) facts’, the value of which should be to hold independently of the way humans evaluate them. Doing so, these academics are not motivated by a quest for a relevant approach. Instead they act as mobilized armies of either objectivity or subjectivity, destroying complex situations that might have slowed them down, and would have forced them to listen to voices protesting against the way their method leaves unattended knowledge that matters to others. + + +That objectivity is a mobilizing banner is easy to demonstrate. It would have no power if it were taken in the strict experimental sense, where it means the obtaining of an exceptional and fragile achievement. An experimental ‘objective’ fact is always extracted by active questioning. However, achieving objectivity then implies the creation of a situation that gives ‘the thing questioned’ the very unusual power to authorize one interpretation that stands against any other possible one. Experimental objectivity is thus the name of an event, not the outcome of a method. Further, it is fragile because it is lost as soon as the experimental facts leave the ‘lab’ – the techno-social rarefied milieu required by experimental achievements – and become ingredients in messy real world situations. When a claim of objectivity nevertheless sticks to those facts outside of the lab, it transforms this claim into a devastating operator. As for the kind of objectivity claimed by the sheer extraction of “data” or by the unilateral imposition of a method, it is a mere banner for conquest. On the other hand, holding the ground of subjectivity against the claims of objectivity, not so very often means empowering the muted voices that point to ignored or disqualified matters. Scientists trying to resist the pseudo-facts that colonialize their fields, caring for a difference to be made between ‘good’ (relevant) and ‘bad’ (abusive) sciences, have found no allies in critical sciences.[2] For those who are mobilized under the banner of subjectivity such scruples are ludicrous. + + +Academic events such as theoretical turns or scientific revolutions – including the famous Anthropocene turn – won’t help to foster cooperative relations or care for collaborative situations. Indeed, such events typically signal an advance, usually the creative destruction of some dregs of common sense that are still contaminating what was previously accepted. In contrast, if there were to be resurgence it would signal itself by the ‘demoralization’ of the perspective of advance. Demoralization is not however about the sad recognition of a limit to the possibility of knowing. It rather conveys the possibility of reducing the feeling of legitimacy that academic researchers have about their objectivity – subjectivity methodologies. The signal of a process of resurgence might be researchers deserting their position when they recognise that subjectivity and objectivity are banners only, imperatives to distance themselves from concerned voices, protesting against the dismemberment of what they care for. + + +[b]Making common sense[b] + +Addressing situations that are a matter of usually diverging concerns in a way that resists dismembering them, means betraying the mobilization for the advance of knowledge. The resurgence of cooperative and non-antagonist relations points towards situation-centred achievements. It requires that the situation itself be given the power to make those concerned think together, that is to induce a laborious, hesitant, and sometimes conflictual collective learning process of what each particular situation demands from those who approach it. This requirement is a practical one. If the eradicative power of the objective/subjective disjunction is to collapse and give way to a collective process, we need to question many academic customs. The ritual of presentations with PowerPoint authoritative bullet-point like arguments, for instance, perfectly illustrates the way situations are mobilized in a confrontational game, when truth is associated with the power of one position to defeat the others. In addition, we may need to find inspiration in ancient customs. New academic rituals may learn for instance from the way the traditional African palavers or the sweat lodge rituals in North American First Nations, these examples ward off one-way-truths and weaponized arguments. + + +Today, many activist groups share with reclaiming contemporary witches the reinvention of the art of consensus-making deliberation; giving the issue of deliberation the power to make common sense. What they learn to artfully design are resurgent ways to take care of the truth, to protect it from power games and relate it to an agreement - generated by a very deliberative process - that no party may appropriate it. They experiment with practices that generate the capacity to think and feel together. For the witches, convoking the goddess is giving room to the power of generativity. When they chant “She changes everything She touches, and everything She touches changes,” they honour a change that affects everything, but to which each affected being responds in its own way and not through some conversion [i]She[i] would command. Of course, such arts presuppose a shared trust in the possibility of generativity and we are free to suspect some kind of participatory role-playing. But refusing to participate is also playing a role. Holding to our own reasons demands that, when we feel we understand something about the other’s position, we suppress any temptation to doubt the kind of authority we confer to our reasons, as if such a hesitation was a betrayal of oneself. What if the art of transformative encounters cultivated the slow emergence and intensification of a mutual sensitivity? A mutual sensitivity that generates a change in the relationship that each entertains with their own reasons. + + +[b]Polyphonic song[b] + +Curiously enough the resurgence of the arts of partnering around a situation, of composing and weaving together relevant but not authoritative reasons, echoes with the work of laboratory biologists. Against the biotechnological redefinition of biology they claim that the self-contained isolable organisms might be a dubious abstraction. What they study are not individual beings competing for having their interest prevail, but multiple specific assemblages between interdependent mutually sensitive partners weaving together capacities to make a living which belong to none of them separately. “We have never been individuals” write Scott Gilbert and his colleagues who are specialists in evolutionary developmental biology.[3] “It is the song that matters, not the singer,” adds Ford Doolittle, specialist in evolutionary microbiology, emphasizing the open character of assemblages, the composition of which (the singers) can change as long as the cooperative pattern, the polyphonic song, is preserved.[4] In other words, biologists now discover that both in the lab and in the field, they have to address cooperative worlds and beings whose ways of life emerge together with their participation in worlding compositions. One could be tempted to speak about a ‘revolution’ in biology, but it can also be said that it is a heresy, a challenge against the mobilizing creed in the advance of science. Undoubtedly, biology is becoming more interesting, but it is losing its power to define a conquering research direction, since each “song”; each assemblage, needs to be deciphered as such. If modes of interdependence are what matters, extraction and isolation are no longer the royal road for progress. No theory - including complex or systemic ones - can define [i]a priori[i] its rightful object, that is, anticipate the way a situation should be addressed. + + +This “heretical” biology is apt to become an ally in the resurgence of cooperative relations between positive sciences and humanities at a time when we vitally need ‘demobilization,’ relinquishing banners which justified our business-as-usual academic routines. I will borrow Anna Tsing’s challenging proposition, that our future might be about learning to live in “capitalist ruins.”[5] That is, in the ruins of the socio-technical organizational infrastructures that ensured our business-as-usual life. Ruins may be horrific, but Tsing recognises ruins also as a place for the resurgence and cultivation of an art of paying attention, which she calls the “art of noticing.” Indeed ruins are places where vigilance is required, where the relevance of our reasons is always at risk, where trusting the abstractions we entertain is inviting disaster. Ruins demand consenting to the precariousness of perspectives taken for granted, that ‘stable’ capitalist infrastructures allowed us, or more precisely, allowed some of us. Tsing follows the wild Matsutake mushroom that thrives in ruined forests - forests ruined by natural catastrophes or by blind extraction, but also by projects meant to ensure a ‘rational and sustainable’ exploitation, that discovered too late that what they had eliminated as prejudicial or expendable [I]did matter[I]. Devastation, the unravelling of the weaving that enables life, does not need to be willful, deliberate – blindly trusting an idea may be sufficient. As for Tsing, she is not relying on overbearing ideas. What she notices is factual but does not allow to abstract what would objectively matter from situational entanglements, in this case articulated by the highly sought mushroom and its [i]symbionts[i] including humans. Facts, here, are not stepping stones for a conquering knowledge and do not oppose objectivity to subjectivity. What is noticed is first of all what appears as interesting or intriguing. It may be enlightening but the light is not defining the situation, it rather generates new possible ways of learning, of weaving new relations with the situation. + + +[b]We are the weavers and we are the woven[b] + +If our future is in the ruins, the possibility of resurgence is the possibility of cultivating, of weaving again what has been unravelled in the name of “the Ascent of Man.” We are not to take ourselves for the weavers after having played the masters, or the assemblers after having glorified extraction. “We are the weavers and we are the web,” sing the contemporary witches who know and cultivate generativity.[6] The arts of cultivation are arts of interdependence, of consenting to the precariousness of lives involved in each other. Those who cultivate do their part, trusting that others may do their own but knowing that what they aim at depends on what cannot be commanded or explained. Those who claim to explain growth or weaving are often only telling about the preparations required by what they have learned to foster, or they depend on the selection of what can be obtained and mobilized ‘off-ground’ in rarefied, reproducible environments. In the ruins of such environments, resurgence is not a return to the past, rather the challenge to learn again what we were made to forget – but what some have refused to forget. + + +When the environmental, social and climate justice, multiracial [i]Alliance of alliances[i], led by women, gender oppressed people of colour, and Indigenous Peoples, claim that “it takes roots to grow resistance,” or else, “to weather the storm,” they talk about the need to name and honour what sustains them and what they struggle for.[7] When those who try to revive the ancient commons, which were destroyed all over the world in the name of property rights, claim that there is “no commons without commoning,” that is, without learning how to “think like commoners,” they talk about the need to not only reclaim what was privatized but to recover the capacity to be involved with others in the ongoing concern and care for their maintenance of the commons.[8] Resurgence is a word for the future as it confronts us with what William James called a ‘genuine option concerning this future’. Daring to trust, as do today’s activists, in an uncertified, indeed improbable, not to say ‘speculative,’ possibility of reclaiming a future worth living and dying for, may seem ludicrous. But the option cannot be avoided because today there is no free standing place outside of the alternative: condescending skepticism, refusing to opt or opting against resurgence, are equivalent. + + +Such an option has no privileged ground. Neither the soil sustaining the roots nor the mutually involved of interdependent partners composing a commons, can be defined in abstraction from the always-situated learning process of weaving relations that matter. These are generative processes liable to include new ways of being with new concerns. New voices enter a song, both participating in this song and contributing to reinvent it. For us academics it does not mean giving up scientific facts, critical attention, or critical concern. It demands instead that such facts, attention, and concerns are liable to participate in the song, even if it means adding new dimensions that complicate it. As such, even scientific facts thus communicate with what William James presented as the “great question” associated with a pluriverse in the making: “does it, with our additions, rise or fall in value? Are the additions worthy or unworthy?”[9] Such a question is great because it obviously cannot get a certified answer but demands that we do accept that what we add makes a difference in the world and that we have to answer for the manner of this difference. + +Footnotes +1. Silvia Federici, [i]Caliban and the Witch. Women, the Body and Primitive Accumulation[i]. Brooklyn, NY: Autonomedia, 2004. 2. Rose, Hilary. "My Enemys Enemy Is, Only Perhaps, My Friend." [i]Social Text[i], no. 45 (1996): 61-80. doi:10.2307/466844. 3. Gilbert, Scott F., Jan Sapp, and Alfred I. Tauber. "A Symbiotic View of Life: We Have Never Been Individuals." [i]The Quarterly Review of Biology[i] 87, no. 4 (2012): 325-41. doi:10.1086/668166. 4. Doolittle, W. Ford, and Austin Booth. "It’s the Song, Not the Singer: An Exploration of Holobiosis and Evolutionary Theory." [i]Biology & Philosophy[i] 32, no. 1 (2016): 5-24. doi:10.1007/s10539-016-9542-2. 5. Tsing, Anna Lowenhaupt. [i]The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins[i]. Princeton, NJ: Princeton University Press, 2015. 6. Starhawk. [i]Dreaming the Dark: Magic, Sex, and Politics[i]. Boston, MA: Beacon Press, 1997. 225. 7. “It Takes Roots – An Alliance of Alliances." It Takes Roots. http://ittakesroots.org/. 8. Bollier, David. [i]Think like a Commoner: A Short Introduction to the Life of the Commons[i]. Gabriola Island, BC, Canada: New Society Publishers, 2014. 9. William, James. [i]Pragmatism: A New Name for Some Old Ways of Thinking[i]. New York, NY: Longman Green and Co., 1907. 98. diff --git a/RESURGENCE/Resurgence.html b/RESURGENCE/Resurgence.html new file mode 100644 index 0000000..127a29b --- /dev/null +++ b/RESURGENCE/Resurgence.html @@ -0,0 +1,124 @@ + + + + +Resurgence + + + + + + + + + + + + + + diff --git a/RESURGENCE/adventure.html b/RESURGENCE/adventure.html new file mode 100644 index 0000000..e69de29 diff --git a/RESURGENCE/ascii.html b/RESURGENCE/ascii.html new file mode 100644 index 0000000..5343a72 --- /dev/null +++ b/RESURGENCE/ascii.html @@ -0,0 +1,16 @@ + + + + ascii magic + + + + + + + + + + + + \ No newline at end of file diff --git a/RESURGENCE/ascii.js b/RESURGENCE/ascii.js new file mode 100644 index 0000000..263e952 --- /dev/null +++ b/RESURGENCE/ascii.js @@ -0,0 +1,105 @@ +import * as THREE from '/sandbot/words-for-the-future/RESURGENCE/GLTFLoader/js/three/build/three.module.js'; + + import { AsciiEffect } from '/sandbot/words-for-the-future/RESURGENCE/jsm/effects/AsciiEffect.js'; + import { TrackballControls } from '/sandbot/words-for-the-future/RESURGENCE/jsm/controls/TrackballControls.js'; + + let camera, controls, scene, renderer, effect; + + let sphere, torus, plane; + + const start = Date.now(); + + init(); + animate(); + + + + function init() { + + camera = new THREE.PerspectiveCamera( 70, window.innerWidth / window.innerHeight, 1, 1000 ); + camera.position.y = 150; + camera.position.z = 500; + + scene = new THREE.Scene(); + scene.background = new THREE.Color( 0, 0, 0 ); + + const pointLight1 = new THREE.PointLight( 0xff00ff ); + pointLight1.position.set( 500, 500, 500 ); + scene.add( pointLight1 ); + + const pointLight2 = new THREE.PointLight( 0xffffff, 0.25 ); + pointLight2.position.set( - 500, - 500, - 500 ); + scene.add( pointLight2 ); + + sphere = new THREE.Mesh( new THREE.SphereBufferGeometry( 200, 20, 10 ), new THREE.MeshPhongMaterial( { flatShading: true } ) ); + scene.add( sphere ); + + + torus = new THREE.Mesh (new THREE.TorusBufferGeometry( 8, 800, 10 ), new THREE.MeshPhongMaterial( { flatShading: true } ) ); + torus.position.x = 150; + scene.add( torus ); + // Plane + + plane = new THREE.Mesh( new THREE.PlaneBufferGeometry( 1000, 1000 ), new THREE.MeshBasicMaterial( { color: 0xe0e0e0 } ) ); + plane.position.y = - 150; + plane.rotation.x = - Math.PI / 2; + scene.add( plane ); + + renderer = new THREE.WebGLRenderer(); + renderer.setSize( window.innerWidth, window.innerHeight ); + + effect = new AsciiEffect( renderer, '.:xmagicmagicmagic', { invert: true } ); + effect.setSize( window.innerWidth, window.innerHeight ); + effect.domElement.style.color = 'darkgray'; + effect.domElement.style.backgroundColor = 'black'; + + // Special case: append effect.domElement, instead of renderer.domElement. + // AsciiEffect creates a custom domElement (a div container) where the ASCII elements are placed. + + document.body.appendChild( effect.domElement ); + + controls = new TrackballControls( camera, effect.domElement ); + + // + + window.addEventListener( 'resize', onWindowResize, false ); + + } + + function onWindowResize() { + + camera.aspect = window.innerWidth / window.innerHeight; + camera.updateProjectionMatrix(); + + renderer.setSize( window.innerWidth, window.innerHeight ); + effect.setSize( window.innerWidth, window.innerHeight ); + + } + + // + + function animate() { + + requestAnimationFrame( animate ); + + render(); + + } + + function render() { + + const timer = Date.now() - start; + + sphere.position.y = Math.abs( Math.sin( timer * 0.002 ) ) * 150; + sphere.rotation.x = timer * 0.0003; + sphere.rotation.z = timer * 0.0002; + + torus.position.y = Math.abs( Math.sin( timer * 0.002 ) ) * 120; + torus.rotation.x = timer * 0.0004; + torus.rotation.z = timer * 0.0001; + + controls.update(); + + effect.render( scene, camera ); + + } diff --git a/RESURGENCE/body.css b/RESURGENCE/body.css new file mode 100644 index 0000000..ba11e00 --- /dev/null +++ b/RESURGENCE/body.css @@ -0,0 +1,199 @@ + +*{ + margin: 0; + padding: 0; + box-sizing: border-box; + transition: 1s; +} + +::-webkit-scrollbar { + display: none; +} + +body { margin: 10px; background: red; font-family: Anka; color: #214c12; padding: 10px; max-width: 75ch; font-size: 1.5em; + + +} + canvas { + width: 100%; + height: 100%; + display: flex; + align-items: center; + z-index: 1; + position:fixed; + top:0; + bottom:0; + left:0; + right:0; + + } + +@font-face {font-family: Anka; +src: url("fonts/AnkaCoder-b.ttf");} +.cover { + width: 100%; + max-width: 100%; + height:100%; + background-color:#000000; + padding: 10px; + border-radius: 5px; + box-shadow: 0 0 10px 2px; + z-index: 10; + color: black; + position: fixed; + top: 50%; + left: 50%; + z-index:9; + transform: translate(-50%, -50%); + opacity: 1; + visibility: hidden; +} + + +#game-text{ +position: sticky; +margin-top: 20px; +z-index: 10; +max-width: 30%; + top: 50%; + left: 50%; + transform: translate(-50%, -50%);} + +/*button { + width: 1%; + height: 30px; + text-align:left; + font-size: 1em; + margin-top:15px; + padding: 12px 20px; + margin: 8px 0; + box-sizing: border-box; + border: red; + font-family: Anka; + color: yellowgreen; + background-color:rgba(255, 0, 0, 0);; + position: fixed; + text-decoration: none; + z-index: 10; + + top: 50%; + border-radius: 20px; + +} + +button:hover { + width: 1%; + height: 30px; + text-align:left; + font-size: 1em; + margin-top:15px; + padding: 12px 20px; + margin: 8px 0; + box-sizing: border-box; + border: red; + font-family: Anka; + color: yellowgreen; + background-color:rgba(255, 0, 0, 0); + position: fixed; + text-decoration: none; + z-index: 10; + top: 50%; + +scale: 160%; + +}*/ + +#yes{ + left: 35%; +} + + +#no{ + right:35%; +} + +#forward{ + top:35%; + left: 50%; + transform: translate(-50%, -50%); +} + + +#back{ + top: 70%; + left: 50%; + transform: translate(-50%, -50%); +} + +.container { + width: 90%; + background-color: #c9d2c1e3; + background-color: gray; + padding: 10px; + border-radius: 5px; + z-index: 10; + color: #214c12; + position: relative; + opacity: 1; + padding: 1em; + box-shadow: 0 0 40px #214c12; + + +} + +/*.container:hover{box-shadow: 0 0 10px black, 0 0 20px black, 0 0 30px yellowgreen;}*/ + +.container2 { + width: 50%; + max-width: 80%; + background-color: white; + padding: 10px; + border-radius: 5px; + box-shadow: 0 0 10px 2px; + z-index: 10; + color: #214c12; + position: fixed; + top: 30%; + left: 50%; + transform: translate(-50%, -50%); + opacity: 0; + visibility: hidden; +} + +.btn-grid { + display: grid; + grid-template-columns: repeat(2, auto); + gap: 10px; + margin-top: 20px; + z-index: 10; +} + +.btn { + background-color: gray; + border: rgba(255, 0, 0, 0); + border-radius: 5px; + padding: 5px 10px; + color:#214c12; + outline: orange; + z-index: 10; + font-family: Anka; +} + +.btn:hover { + border-color: black; + background-color: darkgray; + z-index: 10; + box-shadow: 0 0 10px #214c12; +} + +#text{z-index: 10; +color: #214c12;padding: 10px;} + +button{z-index:10; background-color: white;} + +p{z-index: 10; + + color: #214c12; + padding: 10px; +} + diff --git a/RESURGENCE/bot.html b/RESURGENCE/bot.html new file mode 100644 index 0000000..2cdf57a --- /dev/null +++ b/RESURGENCE/bot.html @@ -0,0 +1,32 @@ + + + + TEST + + + + + + + + + + + +
+ +

+ on the foot of the volcano +


+
Text
+
+ + + + +


+ +

go home

+ + + + + \ No newline at end of file diff --git a/RESURGENCE/chatbot.ipynb b/RESURGENCE/chatbot.ipynb new file mode 100644 index 0000000..34f08f6 --- /dev/null +++ b/RESURGENCE/chatbot.ipynb @@ -0,0 +1,133 @@ +{ + "cells": [ + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [ + "import time\n", + "import sys\n", + "\n", + "a = 0.2\n", + "b = 2\n", + "\n", + "def inventoryWipe():\n", + " file = open(\"inventory.txt\", \"w\")\n", + " file.close()\n", + "inventoryWipe()\n", + "\n", + "print(\" _________\")\n", + "print(\" / ======= .\")\n", + "print(\" / __________. \")\n", + "print(\" | ___________ |\")\n", + "print(\" | | words | |\")\n", + "print(\" | | for | |\")\n", + "print(\" | |_the_____| |________________________\")\n", + "print(\" \\=____________/ future )\")\n", + "print(\" / =========== \\ /\")\n", + "print(\"/ ::::::::::::: \\ =D-'\")\n", + "print(\"(________________)\")\n", + "s = '\"Hello Traveler\"'\n", + "for character in s:\n", + " sys.stdout.write(character)\n", + " sys.stdout.flush()\n", + " time.sleep(a)\n", + "time.sleep(b)\n", + "print()\n", + "print('Enter your name:')\n", + "name = input()\n", + "count = 0\n", + "\n", + "def select_element():\n", + " global count\n", + " print('Hello, ' + name + \". Welcome to ***Earthrise***. Are you ready to set sail to the land of the future? If yes, pick one of these elements to start: water, fire, wind\")\n", + " time.sleep(b)\n", + "\n", + " while True:\n", + "\n", + " print('Type your choice below, ' + name + '!')\n", + " element = input()\n", + " if element.lower().strip() == \"water\":\n", + " print('Great work, ' + name + ', Captain Atata picked you up with his ferry! Where should we go from here? (north/west)')\n", + " count = count + 1\n", + " print(count)\n", + " elif element.lower().strip() == \"fire\":\n", + " print('Great work, ' + name + ', You find yourself at the foot of an active volcano. Where do we go from here? (north/west)')\n", + " count = count + 1\n", + " elif element.lower().strip() == \"wind\":\n", + " print('You lift off the earth into the skies now, ' + name + ', you are floating. Where do we go from here? (north/west)')\n", + " count = count + 1\n", + " else:\n", + " print(\"this spell has no power here.\")\n", + "\n", + "\n", + " direction = input()\n", + " if direction.lower().strip() == \"west\" and count == 1:\n", + " print(\"You are walking along a \" + element + \" stream until you see a big book.\")\n", + "\n", + " elif direction.lower().strip() == \"north\":\n", + " print(\"You find yourself in a dense forest. By your feet you see a magic elixier and a whistle. You only have space for one, which one do you pick? (elixier/whistle)\")\n", + " count = count + 1\n", + " else:\n", + " print(\"this spell has no power here.\")\n", + "\n", + " object = input()\n", + " if object.lower().strip() == \"elixier\" and count == 2:\n", + " print(\"You don't understand what to use it for yet, so you keep on walking.\")\n", + "\n", + " elif direction.lower().strip() == \"whistle\":\n", + " print(\"You try to make sounds with it, until you finally suceed. You hear the whistle sound being echoed from far. (follow)\")\n", + "\n", + " else:\n", + " print(\"this spell has no power here.\")\n", + "select_element()\n", + "\n", + "\n", + "\n" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + } + ], + "metadata": { + "kernelspec": { + "display_name": "Python 3", + "language": "python", + "name": "python3" + }, + "language_info": { + "codemirror_mode": { + "name": "ipython", + "version": 3 + }, + "file_extension": ".py", + "mimetype": "text/x-python", + "name": "python", + "nbconvert_exporter": "python", + "pygments_lexer": "ipython3", + "version": "3.7.3" + } + }, + "nbformat": 4, + "nbformat_minor": 4 +} diff --git a/RESURGENCE/fonts/AnkaCoder-b.ttf b/RESURGENCE/fonts/AnkaCoder-b.ttf new file mode 100644 index 0000000..6dcf5e0 Binary files /dev/null and b/RESURGENCE/fonts/AnkaCoder-b.ttf differ diff --git a/RESURGENCE/game.js b/RESURGENCE/game.js new file mode 100644 index 0000000..78a1fa1 --- /dev/null +++ b/RESURGENCE/game.js @@ -0,0 +1,194 @@ +const textElement = document.getElementById('text') +const optionButtonsElement = document.getElementById('option-buttons') + +let state = {} + +function startGame() { + state = {} + showTextNode(1) +} + +function showTextNode(textNodeIndex) { + const textNode = textNodes.find(textNode => textNode.id === textNodeIndex) + textElement.innerText = textNode.text + while (optionButtonsElement.firstChild) { + optionButtonsElement.removeChild(optionButtonsElement.firstChild) + } + + textNode.options.forEach(option => { + if (showOption(option)) { + const button = document.createElement('button') + button.innerText = option.text + button.classList.add('btn') + button.addEventListener('click', () => selectOption(option)) + optionButtonsElement.appendChild(button) + } + }) +} + +function showOption(option) { + return option.requiredState == null || option.requiredState(state) +} + +function selectOption(option) { + const nextTextNodeId = option.nextText + if (nextTextNodeId <= 0) { + return startGame() + } + state = Object.assign(state, option.setState) + showTextNode(nextTextNodeId) +} + +const textNodes = [ + { + id: 1, + text: "You find yourself on the foot of an active volcano. You look down and see a cardboard sign lying by your feet with the message 'We are the grandchildren of the witches you were not able to burn.' Hm. What do you do?", + options: [ + { + text: "become and ally", + setState: { blueGoo: true, ally: true }, + nextText: 2 + }, + { + text: "doubt the kind", + setState: { blueGoo: true, ally: false }, + nextText: 3 + }, + + ] + }, + + { + id: 2, + text: 'You set out to find the people who wrote the sign. You follow a narrow path into a dense forest, where you see a group of elderly women weaving.', + options: [ + { + text: 'Ask them what they are weaving.', + requiredState: (currentState) => currentState.blueGoo, + setState: { blueGoo: false, sword: true }, + nextText: 4 + }, + { + text: "Keep on walking.", + requiredState: (currentState) => currentState.blueGoo, + setState: { blueGoo: false}, + nextText: 5 + } + ] + }, + { + id: 3, + text: "You walk on a concrete road towards a large building. It has 'FACTS ONLY' engraved on top of a massive wooden door", + options: [ + { + text: 'You ring the bell, waiting for someone to let you in.', + nextText: 31 + }, + { + text: 'Go right', + nextText: 32 + }, + { + text: 'Keep on walking straight forwards', + nextText: 33 + } + ] + }, + { + id: 100, + text: 'You are getting more tired by the minute. Why were you here again?', + options: [ + { + text: 'Restart', + nextText: -1 + } + ] + }, + { + id: 5, + text: 'As you are walking, the fauna is getting denser and wilder by the minute. Suddenly, a gate made of white stone catches your attention', + options: [ + { + text: 'Restart', + nextText: 51 + } + ] + }, + { + id: 6, + text: 'You awake in front of a well.', + options: [ + { + text: 'Nothing matters so you jump.', + nextText: 7 + } + ] + }, + { + id: 7, + text: 'At the bottom of the well, there are two doors. The doors are guarded by dogs with eyes the size of windmills.', + options: [ + { + text: 'Try to run', + nextText: 8 + }, + { + text: 'Shoot at it with your gun', + requiredState: (currentState) => currentState.sword, + nextText: 9 + }, + { + text: 'Hide behind your shield', + requiredState: (currentState) => currentState.shield, + nextText: 10 + }, + { + text: 'You calmy approach it, trying to pet his head', + requiredState: (currentState) => currentState.blueGoo, + nextText: 11 + } + ] + }, + { + id: 8, + text: 'Your attempts to run are in vain and the monster easily catches.', + options: [ + { + text: 'Restart', + nextText: -1 + } + ] + }, + { + id: 9, + text: 'You foolishly thought this monster could be slain with the shot of a gun. The doors turn into stonewall in front of your eyes.', + options: [ + { + text: 'Restart', + nextText: -1 + } + ] + }, + { + id: 10, + text: 'The monster laughed as you hid behind your shield and ate you.', + options: [ + { + text: 'Restart', + nextText: -1 + } + ] + }, + { + id: 11, + text: 'The tension rises as the monster stares back at you, growling and drooling. It smell your hand and with a big POOF, it turns into a fluffy key.', + options: [ + { + text: 'Congratulations. Play Again.', + nextText: -1 + } + ] + } +] + +startGame() \ No newline at end of file diff --git a/RESURGENCE/index.html b/RESURGENCE/index.html new file mode 100644 index 0000000..aba27f8 --- /dev/null +++ b/RESURGENCE/index.html @@ -0,0 +1,63 @@ + + + + TEST + + + + + + + + + + + + + + +
+ + + + + +

Resurgence by Isabelle Stengers


+

“We are the grandchildren of the witches you were not able to burn” – Tish Thawer


+

I will take this motto, which has flourished in recent protests in the United States, as the defiant cry of resurgence – refusing to define the past as dead and buried. Not only were the witches killed all over Europe, but their memory has been buried by the many retrospective analyses which triumphantly concluded that their power and practices were a matter of imaginary collective construction affecting both the victims and the inquisitors. Eco-feminists have proposed a very different understanding of the ‘burning times.’ They associate it with the destruction of rural cultures and their old rites, with the violent appropriation of the commons, with the rule of a law that consecrated the unquestionable rights of the owner, and with the invention of the modern workers who can only sell their labour-power on the market as a commodity. Listening to the defiant cry of the women who name themselves granddaughters of the past witches, I will go further. I will honour the vision which, since the Reagan era, has sustained reclaiming witches such as Starhawk, who associate their activism with the memory of a past earth-based religion of the goddess - who now ‘returns.’ Against the ongoing academic critical judgement, I claim that the witches’ resurgence, their chant about the goddess’ return, and inseparably their return to the goddess, should not be taken as a ‘regression.’


+

Given the threatening unknown our future is facing, the question of academic judgements may seem like a rather futile one. Very few, including academics themselves, among those who disqualify the resurgence of witches as regressive, are effectively forced to think by this future, which the witches resolutely address. They are too busy living up to the relentless neoliberal demands which they have now to satisfy in order to survive. However, if there is something to be learned from the past, it may well be the way in which defending the victims of eradicative operations has so often deemed futile. In one way or another, these victims deserved their fate, or this fate was the price to be unhappily paid for progress. “Creative destructions,” economists croon. What we have now discovered is that these destructions come with cascading and interconnecting consequences. Worlds are destroyed and no such destruction is ever deserved. This is why I will address the academic world, which, in turns, is facing its own destruction. Probably, because it is the one I know best, also because of its specific responsibility in the formation of the generations which will have to make their way in the future.

🌲
+

Resurgence often refers to the reappearance of something defined as deleterious – e.g. an agricultural pest or an epidemic vector – after a seemingly successful operation of eradication. It may also refer to the reworlding of a landscape after a natural catastrophe or a devastating industrial exploitation. Today, such a reworlding is no longer understood by researchers in ecology in terms of the restoration of some stable equilibrium. Ecology has succeeded in freeing itself from the association of what we call “natural” with an ordered reality verifying scientific generalization. In contrast, academic judgements entailing the idea of regression still imply what has been called “The Ascent of Man:” “Man” irrevocably turning his back on past attachments, beliefs, and scruples, affirming his destiny of emancipation from traditions and the order of nature. Even critical humanities including feminist studies, whatever their deconstruction of the imperialist, sexist, and colonialist character of the “Ascent of Man” motto, still do not know how to disentangle themselves from the reference to a rational progress which opposes the possibility of taking seriously the contemporary resurgence of what does not conform to a materialist, that is, secularist, position.


+

If resurgence is a word for the future, it is because we may use it in the way the granddaughters of the witches do: as a challenge to eradicative operations, with which what we call materialism and secularism are irreducibly associated, are still going on today. It is quite possible to inherit the struggle against the oppressive character of religious institutions without forgetting what came together with materialism and secularism; the destruction of what opposed the transition to capitalism both in Europe and in the colonized world.1 It is quite possible to resist the idea that what was destroyed is irrevocably lost and that we should have the courage to accept this loss. Certainly it cannot be a question of resurrecting the past. What eventually returns is also reinventing itself as it takes root in a new environment, challenging the way it defined its destruction as a fait accompli. In the academic environment, defining as a fait accompli the destruction of the witches might be the only true point of agreement uniting two antagonist powers: those who take as an “objective fact” that the magic they claimed to practice does not exist, and those who understand magic as a cultural-subjective construction belonging to the past.

🌙
+

Getting rid of the Objectivity – Subjectivity banners

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In the academic world eradicative operations are a routine, performed as ‘methodology’ by researchers who see it as their duty to disentangle situations in order to define them. Some will extract information about human practices only and give (always subjective) meaning to these situations. Others will only look at ‘(objective) facts’, the value of which should be to hold independently of the way humans evaluate them. Doing so, these academics are not motivated by a quest for a relevant approach. Instead they act as mobilized armies of either objectivity or subjectivity, destroying complex situations that might have slowed them down, and would have forced them to listen to voices protesting against the way their method leaves unattended knowledge that matters to others.


+

That objectivity is a mobilizing banner is easy to demonstrate. It would have no power if it were taken in the strict experimental sense, where it means the obtaining of an exceptional and fragile achievement. An experimental ‘objective’ fact is always extracted by active questioning. However, achieving objectivity then implies the creation of a situation that gives ‘the thing questioned’ the very unusual power to authorize one interpretation that stands against any other possible one. Experimental objectivity is thus the name of an event, not the outcome of a method. Further, it is fragile because it is lost as soon as the experimental facts leave the ‘lab’ – the techno-social rarefied milieu required by experimental achievements – and become ingredients in messy real world situations. When a claim of objectivity nevertheless sticks to those facts outside of the lab, it transforms this claim into a devastating operator. As for the kind of objectivity claimed by the sheer extraction of “data” or by the unilateral imposition of a method, it is a mere banner for conquest. On the other hand, holding the ground of subjectivity against the claims of objectivity, not so very often means empowering the muted voices that point to ignored or disqualified matters. Scientists trying to resist the pseudo-facts that colonialize their fields, caring for a difference to be made between ‘good’ (relevant) and ‘bad’ (abusive) sciences, have found no allies in critical sciences.[2] For those who are mobilized under the banner of subjectivity such scruples are ludicrous.

+

Academic events such as theoretical turns or scientific revolutions – including the famous Anthropocene turn – won’t help to foster cooperative relations or care for collaborative situations. Indeed, such events typically signal an advance, usually the creative destruction of some dregs of common sense that are still contaminating what was previously accepted. In contrast, if there were to be resurgence it would signal itself by the ‘demoralization’ of the perspective of advance. Demoralization is not however about the sad recognition of a limit to the possibility of knowing. It rather conveys the possibility of reducing the feeling of legitimacy that academic researchers have about their objectivity – subjectivity methodologies. The signal of a process of resurgence might be researchers deserting their position when they recognise that subjectivity and objectivity are banners only, imperatives to distance themselves from concerned voices, protesting against the dismemberment of what they care for.


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Making common sense

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Addressing situations that are a matter of usually diverging concerns in a way that resists dismembering them, means betraying the mobilization for the advance of knowledge. The resurgence of cooperative and non-antagonist relations points towards situation-centred achievements. It requires that the situation itself be given the power to make those concerned think together, that is to induce a laborious, hesitant, and sometimes conflictual collective learning process of what each particular situation demands from those who approach it. This requirement is a practical one. If the eradicative power of the objective/subjective disjunction is to collapse and give way to a collective process, we need to question many academic customs. The ritual of presentations with PowerPoint authoritative bullet-point like arguments, for instance, perfectly illustrates the way situations are mobilized in a confrontational game, when truth is associated with the power of one position to defeat the others. In addition, we may need to find inspiration in ancient customs. New academic rituals may learn for instance from the way the traditional African palavers or the sweat lodge rituals in North American First Nations, these examples ward off one-way-truths and weaponized arguments.


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Today, many activist groups share with reclaiming contemporary witches the reinvention of the art of consensus-making deliberation; giving the issue of deliberation the power to make common sense. What they learn to artfully design are resurgent ways to take care of the truth, to protect it from power games and relate it to an agreement - generated by a very deliberative process - that no party may appropriate it. They experiment with practices that generate the capacity to think and feel together. For the witches, convoking the goddess is giving room to the power of generativity. When they chant “She changes everything She touches, and everything She touches changes,” they honour a change that affects everything, but to which each affected being responds in its own way and not through some conversion [i]She[i] would command. Of course, such arts presuppose a shared trust in the possibility of generativity and we are free to suspect some kind of participatory role-playing. But refusing to participate is also playing a role. Holding to our own reasons demands that, when we feel we understand something about the other’s position, we suppress any temptation to doubt the kind of authority we confer to our reasons, as if such a hesitation was a betrayal of oneself. What if the art of transformative encounters cultivated the slow emergence and intensification of a mutual sensitivity? A mutual sensitivity that generates a change in the relationship that each entertains with their own reasons.


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Polyphonic song

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Curiously enough the resurgence of the arts of partnering around a situation, of composing and weaving together relevant but not authoritative reasons, echoes with the work of laboratory biologists. Against the biotechnological redefinition of biology they claim that the self-contained isolable organisms might be a dubious abstraction. What they study are not individual beings competing for having their interest prevail, but multiple specific assemblages between interdependent mutually sensitive partners weaving together capacities to make a living which belong to none of them separately. “We have never been individuals” write Scott Gilbert and his colleagues who are specialists in evolutionary developmental biology.[3] “It is the song that matters, not the singer,” adds Ford Doolittle, specialist in evolutionary microbiology, emphasizing the open character of assemblages, the composition of which (the singers) can change as long as the cooperative pattern, the polyphonic song, is preserved.[4] In other words, biologists now discover that both in the lab and in the field, they have to address cooperative worlds and beings whose ways of life emerge together with their participation in worlding compositions. One could be tempted to speak about a ‘revolution’ in biology, but it can also be said that it is a heresy, a challenge against the mobilizing creed in the advance of science. Undoubtedly, biology is becoming more interesting, but it is losing its power to define a conquering research direction, since each “song”; each assemblage, needs to be deciphered as such. If modes of interdependence are what matters, extraction and isolation are no longer the royal road for progress. No theory - including complex or systemic ones - can define [i]a priori[i] its rightful object, that is, anticipate the way a situation should be addressed.


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This “heretical” biology is apt to become an ally in the resurgence of cooperative relations between positive sciences and humanities at a time when we vitally need ‘demobilization,’ relinquishing banners which justified our business-as-usual academic routines. I will borrow Anna Tsing’s challenging proposition, that our future might be about learning to live in “capitalist ruins.”[5] That is, in the ruins of the socio-technical organizational infrastructures that ensured our business-as-usual life. Ruins may be horrific, but Tsing recognises ruins also as a place for the resurgence and cultivation of an art of paying attention, which she calls the “art of noticing.” Indeed ruins are places where vigilance is required, where the relevance of our reasons is always at risk, where trusting the abstractions we entertain is inviting disaster. Ruins demand consenting to the precariousness of perspectives taken for granted, that ‘stable’ capitalist infrastructures allowed us, or more precisely, allowed some of us. Tsing follows the wild Matsutake mushroom that thrives in ruined forests - forests ruined by natural catastrophes or by blind extraction, but also by projects meant to ensure a ‘rational and sustainable’ exploitation, that discovered too late that what they had eliminated as prejudicial or expendable [I]did matter[I]. Devastation, the unravelling of the weaving that enables life, does not need to be willful, deliberate – blindly trusting an idea may be sufficient. As for Tsing, she is not relying on overbearing ideas. What she notices is factual but does not allow to abstract what would objectively matter from situational entanglements, in this case articulated by the highly sought mushroom and its [i]symbionts[i] including humans. Facts, here, are not stepping stones for a conquering knowledge and do not oppose objectivity to subjectivity. What is noticed is first of all what appears as interesting or intriguing. It may be enlightening but the light is not defining the situation, it rather generates new possible ways of learning, of weaving new relations with the situation.


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We are the weavers and we are the woven

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If our future is in the ruins, the possibility of resurgence is the possibility of cultivating, of weaving again what has been unravelled in the name of “the Ascent of Man.” We are not to take ourselves for the weavers after having played the masters, or the assemblers after having glorified extraction. “We are the weavers and we are the web,” sing the contemporary witches who know and cultivate generativity.[6] The arts of cultivation are arts of interdependence, of consenting to the precariousness of lives involved in each other. Those who cultivate do their part, trusting that others may do their own but knowing that what they aim at depends on what cannot be commanded or explained. Those who claim to explain growth or weaving are often only telling about the preparations required by what they have learned to foster, or they depend on the selection of what can be obtained and mobilized ‘off-ground’ in rarefied, reproducible environments. In the ruins of such environments, resurgence is not a return to the past, rather the challenge to learn again what we were made to forget – but what some have refused to forget.


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When the environmental, social and climate justice, multiracial [i]Alliance of alliances[i], led by women, gender oppressed people of colour, and Indigenous Peoples, claim that “it takes roots to grow resistance,” or else, “to weather the storm,” they talk about the need to name and honour what sustains them and what they struggle for.[7] When those who try to revive the ancient commons, which were destroyed all over the world in the name of property rights, claim that there is “no commons without commoning,” that is, without learning how to “think like commoners,” they talk about the need to not only reclaim what was privatized but to recover the capacity to be involved with others in the ongoing concern and care for their maintenance of the commons.[8] Resurgence is a word for the future as it confronts us with what William James called a ‘genuine option concerning this future’. Daring to trust, as do today’s activists, in an uncertified, indeed improbable, not to say ‘speculative,’ possibility of reclaiming a future worth living and dying for, may seem ludicrous. But the option cannot be avoided because today there is no free standing place outside of the alternative: condescending skepticism, refusing to opt or opting against resurgence, are equivalent.


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Such an option has no privileged ground. Neither the soil sustaining the roots nor the mutually involved of interdependent partners composing a commons, can be defined in abstraction from the always-situated learning process of weaving relations that matter. These are generative processes liable to include new ways of being with new concerns. New voices enter a song, both participating in this song and contributing to reinvent it. For us academics it does not mean giving up scientific facts, critical attention, or critical concern. It demands instead that such facts, attention, and concerns are liable to participate in the song, even if it means adding new dimensions that complicate it. As such, even scientific facts thus communicate with what William James presented as the “great question” associated with a pluriverse in the making: “does it, with our additions, rise or fall in value? Are the additions worthy or unworthy?”[9] Such a question is great because it obviously cannot get a certified answer but demands that we do accept that what we add makes a difference in the world and that we have to answer for the manner of this difference.


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🦶Footnotes🦶

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  1. Silvia Federici, [i]Caliban and the Witch. Women, the Body and Primitive Accumulation[i]. Brooklyn, NY: Autonomedia, 2004. 2. Rose, Hilary. “My Enemys Enemy Is, Only Perhaps, My Friend.” [i]Social Text[i], no. 45 (1996): 61-80. doi:10.2307/466844.3. Gilbert, Scott F., Jan Sapp, and Alfred I. Tauber. “A Symbiotic View of Life: We Have Never Been Individuals.” [i]The Quarterly Review of Biology[i] 87, no. 4 (2012): 325-41. doi:10.1086/668166.4. Doolittle, W. Ford, and Austin Booth. “It’s the Song, Not the Singer: An Exploration of Holobiosis and Evolutionary Theory.” [i]Biology & Philosophy[i] 32, no. 1 (2016): 5-24. doi:10.1007/s10539-016-9542-2.5. Tsing, Anna Lowenhaupt. [i]The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins[i]. Princeton, NJ: Princeton University Press, 2015.6. Starhawk. [i]Dreaming the Dark: Magic, Sex, and Politics[i]. Boston, MA: Beacon Press, 1997. 225.7. “It Takes Roots – An Alliance of Alliances.” It Takes Roots. http://ittakesroots.org/.8. Bollier, David. [i]Think like a Commoner: A Short Introduction to the Life of the Commons[i]. Gabriola Island, BC, Canada: New Society Publishers, 2014.9. William, James. [i]Pragmatism: A New Name for Some Old Ways of Thinking[i]. New York, NY: Longman Green and Co., 1907. 98.

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+ + + + + + \ No newline at end of file diff --git a/RESURGENCE/inventory.txt b/RESURGENCE/inventory.txt new file mode 100644 index 0000000..e69de29 diff --git a/RESURGENCE/jsm/controls/TrackballControls.js b/RESURGENCE/jsm/controls/TrackballControls.js new file mode 100644 index 0000000..8a78402 --- /dev/null +++ b/RESURGENCE/jsm/controls/TrackballControls.js @@ -0,0 +1,754 @@ +import { + EventDispatcher, + MOUSE, + Quaternion, + Vector2, + Vector3 +} from "../../../build/three.module.js"; + +var TrackballControls = function ( object, domElement ) { + + if ( domElement === undefined ) console.warn( 'THREE.TrackballControls: The second parameter "domElement" is now mandatory.' ); + if ( domElement === document ) console.error( 'THREE.TrackballControls: "document" should not be used as the target "domElement". Please use "renderer.domElement" instead.' ); + + var scope = this; + var STATE = { NONE: - 1, ROTATE: 0, ZOOM: 1, PAN: 2, TOUCH_ROTATE: 3, TOUCH_ZOOM_PAN: 4 }; + + this.object = object; + this.domElement = domElement; + + // API + + this.enabled = true; + + this.screen = { left: 0, top: 0, width: 0, height: 0 }; + + this.rotateSpeed = 1.0; + this.zoomSpeed = 1.2; + this.panSpeed = 0.3; + + this.noRotate = false; + this.noZoom = false; + this.noPan = false; + + this.staticMoving = false; + this.dynamicDampingFactor = 0.2; + + this.minDistance = 0; + this.maxDistance = Infinity; + + this.keys = [ 65 /*A*/, 83 /*S*/, 68 /*D*/ ]; + + this.mouseButtons = { LEFT: MOUSE.ROTATE, MIDDLE: MOUSE.ZOOM, RIGHT: MOUSE.PAN }; + + // internals + + this.target = new Vector3(); + + var EPS = 0.000001; + + var lastPosition = new Vector3(); + var lastZoom = 1; + + var _state = STATE.NONE, + _keyState = STATE.NONE, + + _eye = new Vector3(), + + _movePrev = new Vector2(), + _moveCurr = new Vector2(), + + _lastAxis = new Vector3(), + _lastAngle = 0, + + _zoomStart = new Vector2(), + _zoomEnd = new Vector2(), + + _touchZoomDistanceStart = 0, + _touchZoomDistanceEnd = 0, + + _panStart = new Vector2(), + _panEnd = new Vector2(); + + // for reset + + this.target0 = this.target.clone(); + this.position0 = this.object.position.clone(); + this.up0 = this.object.up.clone(); + this.zoom0 = this.object.zoom; + + // events + + var changeEvent = { type: 'change' }; + var startEvent = { type: 'start' }; + var endEvent = { type: 'end' }; + + + // methods + + this.handleResize = function () { + + var box = scope.domElement.getBoundingClientRect(); + // adjustments come from similar code in the jquery offset() function + var d = scope.domElement.ownerDocument.documentElement; + scope.screen.left = box.left + window.pageXOffset - d.clientLeft; + scope.screen.top = box.top + window.pageYOffset - d.clientTop; + scope.screen.width = box.width; + scope.screen.height = box.height; + + }; + + var getMouseOnScreen = ( function () { + + var vector = new Vector2(); + + return function getMouseOnScreen( pageX, pageY ) { + + vector.set( + ( pageX - scope.screen.left ) / scope.screen.width, + ( pageY - scope.screen.top ) / scope.screen.height + ); + + return vector; + + }; + + }() ); + + var getMouseOnCircle = ( function () { + + var vector = new Vector2(); + + return function getMouseOnCircle( pageX, pageY ) { + + vector.set( + ( ( pageX - scope.screen.width * 0.5 - scope.screen.left ) / ( scope.screen.width * 0.5 ) ), + ( ( scope.screen.height + 2 * ( scope.screen.top - pageY ) ) / scope.screen.width ) // screen.width intentional + ); + + return vector; + + }; + + }() ); + + this.rotateCamera = ( function () { + + var axis = new Vector3(), + quaternion = new Quaternion(), + eyeDirection = new Vector3(), + objectUpDirection = new Vector3(), + objectSidewaysDirection = new Vector3(), + moveDirection = new Vector3(), + angle; + + return function rotateCamera() { + + moveDirection.set( _moveCurr.x - _movePrev.x, _moveCurr.y - _movePrev.y, 0 ); + angle = moveDirection.length(); + + if ( angle ) { + + _eye.copy( scope.object.position ).sub( scope.target ); + + eyeDirection.copy( _eye ).normalize(); + objectUpDirection.copy( scope.object.up ).normalize(); + objectSidewaysDirection.crossVectors( objectUpDirection, eyeDirection ).normalize(); + + objectUpDirection.setLength( _moveCurr.y - _movePrev.y ); + objectSidewaysDirection.setLength( _moveCurr.x - _movePrev.x ); + + moveDirection.copy( objectUpDirection.add( objectSidewaysDirection ) ); + + axis.crossVectors( moveDirection, _eye ).normalize(); + + angle *= scope.rotateSpeed; + quaternion.setFromAxisAngle( axis, angle ); + + _eye.applyQuaternion( quaternion ); + scope.object.up.applyQuaternion( quaternion ); + + _lastAxis.copy( axis ); + _lastAngle = angle; + + } else if ( ! scope.staticMoving && _lastAngle ) { + + _lastAngle *= Math.sqrt( 1.0 - scope.dynamicDampingFactor ); + _eye.copy( scope.object.position ).sub( scope.target ); + quaternion.setFromAxisAngle( _lastAxis, _lastAngle ); + _eye.applyQuaternion( quaternion ); + scope.object.up.applyQuaternion( quaternion ); + + } + + _movePrev.copy( _moveCurr ); + + }; + + }() ); + + + this.zoomCamera = function () { + + var factor; + + if ( _state === STATE.TOUCH_ZOOM_PAN ) { + + factor = _touchZoomDistanceStart / _touchZoomDistanceEnd; + _touchZoomDistanceStart = _touchZoomDistanceEnd; + + if ( scope.object.isPerspectiveCamera ) { + + _eye.multiplyScalar( factor ); + + } else if ( scope.object.isOrthographicCamera ) { + + scope.object.zoom *= factor; + scope.object.updateProjectionMatrix(); + + } else { + + console.warn( 'THREE.TrackballControls: Unsupported camera type' ); + + } + + } else { + + factor = 1.0 + ( _zoomEnd.y - _zoomStart.y ) * scope.zoomSpeed; + + if ( factor !== 1.0 && factor > 0.0 ) { + + if ( scope.object.isPerspectiveCamera ) { + + _eye.multiplyScalar( factor ); + + } else if ( scope.object.isOrthographicCamera ) { + + scope.object.zoom /= factor; + scope.object.updateProjectionMatrix(); + + } else { + + console.warn( 'THREE.TrackballControls: Unsupported camera type' ); + + } + + } + + if ( scope.staticMoving ) { + + _zoomStart.copy( _zoomEnd ); + + } else { + + _zoomStart.y += ( _zoomEnd.y - _zoomStart.y ) * this.dynamicDampingFactor; + + } + + } + + }; + + this.panCamera = ( function () { + + var mouseChange = new Vector2(), + objectUp = new Vector3(), + pan = new Vector3(); + + return function panCamera() { + + mouseChange.copy( _panEnd ).sub( _panStart ); + + if ( mouseChange.lengthSq() ) { + + if ( scope.object.isOrthographicCamera ) { + + var scale_x = ( scope.object.right - scope.object.left ) / scope.object.zoom / scope.domElement.clientWidth; + var scale_y = ( scope.object.top - scope.object.bottom ) / scope.object.zoom / scope.domElement.clientWidth; + + mouseChange.x *= scale_x; + mouseChange.y *= scale_y; + + } + + mouseChange.multiplyScalar( _eye.length() * scope.panSpeed ); + + pan.copy( _eye ).cross( scope.object.up ).setLength( mouseChange.x ); + pan.add( objectUp.copy( scope.object.up ).setLength( mouseChange.y ) ); + + scope.object.position.add( pan ); + scope.target.add( pan ); + + if ( scope.staticMoving ) { + + _panStart.copy( _panEnd ); + + } else { + + _panStart.add( mouseChange.subVectors( _panEnd, _panStart ).multiplyScalar( scope.dynamicDampingFactor ) ); + + } + + } + + }; + + }() ); + + this.checkDistances = function () { + + if ( ! scope.noZoom || ! scope.noPan ) { + + if ( _eye.lengthSq() > scope.maxDistance * scope.maxDistance ) { + + scope.object.position.addVectors( scope.target, _eye.setLength( scope.maxDistance ) ); + _zoomStart.copy( _zoomEnd ); + + } + + if ( _eye.lengthSq() < scope.minDistance * scope.minDistance ) { + + scope.object.position.addVectors( scope.target, _eye.setLength( scope.minDistance ) ); + _zoomStart.copy( _zoomEnd ); + + } + + } + + }; + + this.update = function () { + + _eye.subVectors( scope.object.position, scope.target ); + + if ( ! scope.noRotate ) { + + scope.rotateCamera(); + + } + + if ( ! scope.noZoom ) { + + scope.zoomCamera(); + + } + + if ( ! scope.noPan ) { + + scope.panCamera(); + + } + + scope.object.position.addVectors( scope.target, _eye ); + + if ( scope.object.isPerspectiveCamera ) { + + scope.checkDistances(); + + scope.object.lookAt( scope.target ); + + if ( lastPosition.distanceToSquared( scope.object.position ) > EPS ) { + + scope.dispatchEvent( changeEvent ); + + lastPosition.copy( scope.object.position ); + + } + + } else if ( scope.object.isOrthographicCamera ) { + + scope.object.lookAt( scope.target ); + + if ( lastPosition.distanceToSquared( scope.object.position ) > EPS || lastZoom !== scope.object.zoom ) { + + scope.dispatchEvent( changeEvent ); + + lastPosition.copy( scope.object.position ); + lastZoom = scope.object.zoom; + + } + + } else { + + console.warn( 'THREE.TrackballControls: Unsupported camera type' ); + + } + + }; + + this.reset = function () { + + _state = STATE.NONE; + _keyState = STATE.NONE; + + scope.target.copy( scope.target0 ); + scope.object.position.copy( scope.position0 ); + scope.object.up.copy( scope.up0 ); + scope.object.zoom = scope.zoom0; + + scope.object.updateProjectionMatrix(); + + _eye.subVectors( scope.object.position, scope.target ); + + scope.object.lookAt( scope.target ); + + scope.dispatchEvent( changeEvent ); + + lastPosition.copy( scope.object.position ); + lastZoom = scope.object.zoom; + + }; + + // listeners + + function onPointerDown( event ) { + + if ( scope.enabled === false ) return; + + switch ( event.pointerType ) { + + case 'mouse': + case 'pen': + onMouseDown( event ); + break; + + // TODO touch + + } + + } + + function onPointerMove( event ) { + + if ( scope.enabled === false ) return; + + switch ( event.pointerType ) { + + case 'mouse': + case 'pen': + onMouseMove( event ); + break; + + // TODO touch + + } + + } + + function onPointerUp( event ) { + + if ( scope.enabled === false ) return; + + switch ( event.pointerType ) { + + case 'mouse': + case 'pen': + onMouseUp( event ); + break; + + // TODO touch + + } + + } + + function keydown( event ) { + + if ( scope.enabled === false ) return; + + window.removeEventListener( 'keydown', keydown ); + + if ( _keyState !== STATE.NONE ) { + + return; + + } else if ( event.keyCode === scope.keys[ STATE.ROTATE ] && ! scope.noRotate ) { + + _keyState = STATE.ROTATE; + + } else if ( event.keyCode === scope.keys[ STATE.ZOOM ] && ! scope.noZoom ) { + + _keyState = STATE.ZOOM; + + } else if ( event.keyCode === scope.keys[ STATE.PAN ] && ! scope.noPan ) { + + _keyState = STATE.PAN; + + } + + } + + function keyup() { + + if ( scope.enabled === false ) return; + + _keyState = STATE.NONE; + + window.addEventListener( 'keydown', keydown, false ); + + } + + function onMouseDown( event ) { + + event.preventDefault(); + event.stopPropagation(); + + if ( _state === STATE.NONE ) { + + switch ( event.button ) { + + case scope.mouseButtons.LEFT: + _state = STATE.ROTATE; + break; + + case scope.mouseButtons.MIDDLE: + _state = STATE.ZOOM; + break; + + case scope.mouseButtons.RIGHT: + _state = STATE.PAN; + break; + + default: + _state = STATE.NONE; + + } + + } + + var state = ( _keyState !== STATE.NONE ) ? _keyState : _state; + + if ( state === STATE.ROTATE && ! scope.noRotate ) { + + _moveCurr.copy( getMouseOnCircle( event.pageX, event.pageY ) ); + _movePrev.copy( _moveCurr ); + + } else if ( state === STATE.ZOOM && ! scope.noZoom ) { + + _zoomStart.copy( getMouseOnScreen( event.pageX, event.pageY ) ); + _zoomEnd.copy( _zoomStart ); + + } else if ( state === STATE.PAN && ! scope.noPan ) { + + _panStart.copy( getMouseOnScreen( event.pageX, event.pageY ) ); + _panEnd.copy( _panStart ); + + } + + scope.domElement.ownerDocument.addEventListener( 'pointermove', onPointerMove, false ); + scope.domElement.ownerDocument.addEventListener( 'pointerup', onPointerUp, false ); + + scope.dispatchEvent( startEvent ); + + } + + function onMouseMove( event ) { + + if ( scope.enabled === false ) return; + + event.preventDefault(); + event.stopPropagation(); + + var state = ( _keyState !== STATE.NONE ) ? _keyState : _state; + + if ( state === STATE.ROTATE && ! scope.noRotate ) { + + _movePrev.copy( _moveCurr ); + _moveCurr.copy( getMouseOnCircle( event.pageX, event.pageY ) ); + + } else if ( state === STATE.ZOOM && ! scope.noZoom ) { + + _zoomEnd.copy( getMouseOnScreen( event.pageX, event.pageY ) ); + + } else if ( state === STATE.PAN && ! scope.noPan ) { + + _panEnd.copy( getMouseOnScreen( event.pageX, event.pageY ) ); + + } + + } + + function onMouseUp( event ) { + + if ( scope.enabled === false ) return; + + event.preventDefault(); + event.stopPropagation(); + + _state = STATE.NONE; + + scope.domElement.ownerDocument.removeEventListener( 'pointermove', onPointerMove ); + scope.domElement.ownerDocument.removeEventListener( 'pointerup', onPointerUp ); + + scope.dispatchEvent( endEvent ); + + } + + function mousewheel( event ) { + + if ( scope.enabled === false ) return; + + if ( scope.noZoom === true ) return; + + event.preventDefault(); + event.stopPropagation(); + + switch ( event.deltaMode ) { + + case 2: + // Zoom in pages + _zoomStart.y -= event.deltaY * 0.025; + break; + + case 1: + // Zoom in lines + _zoomStart.y -= event.deltaY * 0.01; + break; + + default: + // undefined, 0, assume pixels + _zoomStart.y -= event.deltaY * 0.00025; + break; + + } + + scope.dispatchEvent( startEvent ); + scope.dispatchEvent( endEvent ); + + } + + function touchstart( event ) { + + if ( scope.enabled === false ) return; + + event.preventDefault(); + + switch ( event.touches.length ) { + + case 1: + _state = STATE.TOUCH_ROTATE; + _moveCurr.copy( getMouseOnCircle( event.touches[ 0 ].pageX, event.touches[ 0 ].pageY ) ); + _movePrev.copy( _moveCurr ); + break; + + default: // 2 or more + _state = STATE.TOUCH_ZOOM_PAN; + var dx = event.touches[ 0 ].pageX - event.touches[ 1 ].pageX; + var dy = event.touches[ 0 ].pageY - event.touches[ 1 ].pageY; + _touchZoomDistanceEnd = _touchZoomDistanceStart = Math.sqrt( dx * dx + dy * dy ); + + var x = ( event.touches[ 0 ].pageX + event.touches[ 1 ].pageX ) / 2; + var y = ( event.touches[ 0 ].pageY + event.touches[ 1 ].pageY ) / 2; + _panStart.copy( getMouseOnScreen( x, y ) ); + _panEnd.copy( _panStart ); + break; + + } + + scope.dispatchEvent( startEvent ); + + } + + function touchmove( event ) { + + if ( scope.enabled === false ) return; + + event.preventDefault(); + event.stopPropagation(); + + switch ( event.touches.length ) { + + case 1: + _movePrev.copy( _moveCurr ); + _moveCurr.copy( getMouseOnCircle( event.touches[ 0 ].pageX, event.touches[ 0 ].pageY ) ); + break; + + default: // 2 or more + var dx = event.touches[ 0 ].pageX - event.touches[ 1 ].pageX; + var dy = event.touches[ 0 ].pageY - event.touches[ 1 ].pageY; + _touchZoomDistanceEnd = Math.sqrt( dx * dx + dy * dy ); + + var x = ( event.touches[ 0 ].pageX + event.touches[ 1 ].pageX ) / 2; + var y = ( event.touches[ 0 ].pageY + event.touches[ 1 ].pageY ) / 2; + _panEnd.copy( getMouseOnScreen( x, y ) ); + break; + + } + + } + + function touchend( event ) { + + if ( scope.enabled === false ) return; + + switch ( event.touches.length ) { + + case 0: + _state = STATE.NONE; + break; + + case 1: + _state = STATE.TOUCH_ROTATE; + _moveCurr.copy( getMouseOnCircle( event.touches[ 0 ].pageX, event.touches[ 0 ].pageY ) ); + _movePrev.copy( _moveCurr ); + break; + + } + + scope.dispatchEvent( endEvent ); + + } + + function contextmenu( event ) { + + if ( scope.enabled === false ) return; + + event.preventDefault(); + + } + + this.dispose = function () { + + scope.domElement.removeEventListener( 'contextmenu', contextmenu, false ); + + scope.domElement.removeEventListener( 'pointerdown', onPointerDown, false ); + scope.domElement.removeEventListener( 'wheel', mousewheel, false ); + + scope.domElement.removeEventListener( 'touchstart', touchstart, false ); + scope.domElement.removeEventListener( 'touchend', touchend, false ); + scope.domElement.removeEventListener( 'touchmove', touchmove, false ); + + scope.domElement.ownerDocument.removeEventListener( 'pointermove', onPointerMove, false ); + scope.domElement.ownerDocument.removeEventListener( 'pointerup', onPointerUp, false ); + + window.removeEventListener( 'keydown', keydown, false ); + window.removeEventListener( 'keyup', keyup, false ); + + }; + + this.domElement.addEventListener( 'contextmenu', contextmenu, false ); + + this.domElement.addEventListener( 'pointerdown', onPointerDown, false ); + this.domElement.addEventListener( 'wheel', mousewheel, false ); + + this.domElement.addEventListener( 'touchstart', touchstart, false ); + this.domElement.addEventListener( 'touchend', touchend, false ); + this.domElement.addEventListener( 'touchmove', touchmove, false ); + + this.domElement.ownerDocument.addEventListener( 'pointermove', onPointerMove, false ); + this.domElement.ownerDocument.addEventListener( 'pointerup', onPointerUp, false ); + + window.addEventListener( 'keydown', keydown, false ); + window.addEventListener( 'keyup', keyup, false ); + + this.handleResize(); + + // force an update at start + this.update(); + +}; + +TrackballControls.prototype = Object.create( EventDispatcher.prototype ); +TrackballControls.prototype.constructor = TrackballControls; + +export { TrackballControls }; diff --git a/RESURGENCE/jsm/effects/AsciiEffect.js b/RESURGENCE/jsm/effects/AsciiEffect.js new file mode 100644 index 0000000..0a40414 --- /dev/null +++ b/RESURGENCE/jsm/effects/AsciiEffect.js @@ -0,0 +1,291 @@ + +/** + * Ascii generation is based on http://www.nihilogic.dk/labs/jsascii/ + * Maybe more about this later with a blog post at http://lab4games.net/zz85/blog + * + * 16 April 2012 - @blurspline + */ + +var AsciiEffect = function ( renderer, charSet, options ) { + + // its fun to create one your own! + + charSet = ( charSet === undefined ) ? ' .:-=+*#%@' : charSet; + + // ' .,:;=|iI+hHOE#`$'; + // darker bolder character set from https://github.com/saw/Canvas-ASCII-Art/ + // ' .\'`^",:;Il!i~+_-?][}{1)(|/tfjrxnuvczXYUJCLQ0OZmwqpdbkhao*#MW&8%B@$'.split(''); + + if ( ! options ) options = {}; + + // Some ASCII settings + + var bResolution = ! options[ 'resolution' ] ? 0.15 : options[ 'resolution' ]; // Higher for more details + var iScale = ! options[ 'scale' ] ? 1 : options[ 'scale' ]; + var bColor = ! options[ 'color' ] ? false : options[ 'color' ]; // nice but slows down rendering! + var bAlpha = ! options[ 'alpha' ] ? false : options[ 'alpha' ]; // Transparency + var bBlock = ! options[ 'block' ] ? false : options[ 'block' ]; // blocked characters. like good O dos + var bInvert = ! options[ 'invert' ] ? false : options[ 'invert' ]; // black is white, white is black + + var strResolution = 'low'; + + var width, height; + + var domElement = document.createElement( 'div' ); + domElement.style.cursor = 'default'; + + var oAscii = document.createElement( "table" ); + domElement.appendChild( oAscii ); + + var iWidth, iHeight; + var oImg; + + this.setSize = function ( w, h ) { + + width = w; + height = h; + + renderer.setSize( w, h ); + + initAsciiSize(); + + }; + + + this.render = function ( scene, camera ) { + + renderer.render( scene, camera ); + asciifyImage( renderer, oAscii ); + + }; + + this.domElement = domElement; + + + // Throw in ascii library from http://www.nihilogic.dk/labs/jsascii/jsascii.js + + /* + * jsAscii 0.1 + * Copyright (c) 2008 Jacob Seidelin, jseidelin@nihilogic.dk, http://blog.nihilogic.dk/ + * MIT License [http://www.nihilogic.dk/licenses/mit-license.txt] + */ + + function initAsciiSize() { + + iWidth = Math.round( width * fResolution ); + iHeight = Math.round( height * fResolution ); + + oCanvas.width = iWidth; + oCanvas.height = iHeight; + // oCanvas.style.display = "none"; + // oCanvas.style.width = iWidth; + // oCanvas.style.height = iHeight; + + oImg = renderer.domElement; + + if ( oImg.style.backgroundColor ) { + + oAscii.rows[ 0 ].cells[ 0 ].style.backgroundColor = oImg.style.backgroundColor; + oAscii.rows[ 0 ].cells[ 0 ].style.color = oImg.style.color; + + } + + oAscii.cellSpacing = 0; + oAscii.cellPadding = 0; + + var oStyle = oAscii.style; + oStyle.display = "inline"; + oStyle.width = Math.round( iWidth / fResolution * iScale ) + "px"; + oStyle.height = Math.round( iHeight / fResolution * iScale ) + "px"; + oStyle.whiteSpace = "pre"; + oStyle.margin = "0px"; + oStyle.padding = "0px"; + oStyle.letterSpacing = fLetterSpacing + "px"; + oStyle.fontFamily = strFont; + oStyle.fontSize = fFontSize + "px"; + oStyle.lineHeight = fLineHeight + "px"; + oStyle.textAlign = "left"; + oStyle.textDecoration = "none"; + + } + + + var aDefaultCharList = ( " .,:;i1tfLCG08@" ).split( "" ); + var aDefaultColorCharList = ( " CGO08@" ).split( "" ); + var strFont = "courier new, monospace"; + + var oCanvasImg = renderer.domElement; + + var oCanvas = document.createElement( "canvas" ); + if ( ! oCanvas.getContext ) { + + return; + + } + + var oCtx = oCanvas.getContext( "2d" ); + if ( ! oCtx.getImageData ) { + + return; + + } + + var aCharList = ( bColor ? aDefaultColorCharList : aDefaultCharList ); + + if ( charSet ) aCharList = charSet; + + var fResolution = 0.5; + + switch ( strResolution ) { + + case "low" : fResolution = 0.25; break; + case "medium" : fResolution = 0.5; break; + case "high" : fResolution = 1; break; + + } + + if ( bResolution ) fResolution = bResolution; + + // Setup dom + + var fFontSize = ( 2 / fResolution ) * iScale; + var fLineHeight = ( 2 / fResolution ) * iScale; + + // adjust letter-spacing for all combinations of scale and resolution to get it to fit the image width. + + var fLetterSpacing = 0; + + if ( strResolution == "low" ) { + + switch ( iScale ) { + + case 1 : fLetterSpacing = - 1; break; + case 2 : + case 3 : fLetterSpacing = - 2.1; break; + case 4 : fLetterSpacing = - 3.1; break; + case 5 : fLetterSpacing = - 4.15; break; + + } + + } + + if ( strResolution == "medium" ) { + + switch ( iScale ) { + + case 1 : fLetterSpacing = 0; break; + case 2 : fLetterSpacing = - 1; break; + case 3 : fLetterSpacing = - 1.04; break; + case 4 : + case 5 : fLetterSpacing = - 2.1; break; + + } + + } + + if ( strResolution == "high" ) { + + switch ( iScale ) { + + case 1 : + case 2 : fLetterSpacing = 0; break; + case 3 : + case 4 : + case 5 : fLetterSpacing = - 1; break; + + } + + } + + + // can't get a span or div to flow like an img element, but a table works? + + + // convert img element to ascii + + function asciifyImage( canvasRenderer, oAscii ) { + + oCtx.clearRect( 0, 0, iWidth, iHeight ); + oCtx.drawImage( oCanvasImg, 0, 0, iWidth, iHeight ); + var oImgData = oCtx.getImageData( 0, 0, iWidth, iHeight ).data; + + // Coloring loop starts now + var strChars = ""; + + // console.time('rendering'); + + for ( var y = 0; y < iHeight; y += 2 ) { + + for ( var x = 0; x < iWidth; x ++ ) { + + var iOffset = ( y * iWidth + x ) * 4; + + var iRed = oImgData[ iOffset ]; + var iGreen = oImgData[ iOffset + 1 ]; + var iBlue = oImgData[ iOffset + 2 ]; + var iAlpha = oImgData[ iOffset + 3 ]; + var iCharIdx; + + var fBrightness; + + fBrightness = ( 0.3 * iRed + 0.59 * iGreen + 0.11 * iBlue ) / 255; + // fBrightness = (0.3*iRed + 0.5*iGreen + 0.3*iBlue) / 255; + + if ( iAlpha == 0 ) { + + // should calculate alpha instead, but quick hack :) + //fBrightness *= (iAlpha / 255); + fBrightness = 1; + + } + + iCharIdx = Math.floor( ( 1 - fBrightness ) * ( aCharList.length - 1 ) ); + + if ( bInvert ) { + + iCharIdx = aCharList.length - iCharIdx - 1; + + } + + // good for debugging + //fBrightness = Math.floor(fBrightness * 10); + //strThisChar = fBrightness; + + var strThisChar = aCharList[ iCharIdx ]; + + if ( strThisChar === undefined || strThisChar == " " ) + strThisChar = " "; + + if ( bColor ) { + + strChars += "" + strThisChar + ""; + + } else { + + strChars += strThisChar; + + } + + } + + strChars += "
"; + + } + + oAscii.innerHTML = "" + strChars + ""; + + // console.timeEnd('rendering'); + + // return oAscii; + + } + + // end modified asciifyImage block + +}; + +export { AsciiEffect }; diff --git a/RESURGENCE/jsm/libs/stats.module.js b/RESURGENCE/jsm/libs/stats.module.js new file mode 100644 index 0000000..0d372ba --- /dev/null +++ b/RESURGENCE/jsm/libs/stats.module.js @@ -0,0 +1,167 @@ +var Stats = function () { + + var mode = 0; + + var container = document.createElement( 'div' ); + container.style.cssText = 'position:fixed;top:0;left:0;cursor:pointer;opacity:0.9;z-index:10000'; + container.addEventListener( 'click', function ( event ) { + + event.preventDefault(); + showPanel( ++ mode % container.children.length ); + + }, false ); + + // + + function addPanel( panel ) { + + container.appendChild( panel.dom ); + return panel; + + } + + function showPanel( id ) { + + for ( var i = 0; i < container.children.length; i ++ ) { + + container.children[ i ].style.display = i === id ? 'block' : 'none'; + + } + + mode = id; + + } + + // + + var beginTime = ( performance || Date ).now(), prevTime = beginTime, frames = 0; + + var fpsPanel = addPanel( new Stats.Panel( 'FPS', '#0ff', '#002' ) ); + var msPanel = addPanel( new Stats.Panel( 'MS', '#0f0', '#020' ) ); + + if ( self.performance && self.performance.memory ) { + + var memPanel = addPanel( new Stats.Panel( 'MB', '#f08', '#201' ) ); + + } + + showPanel( 0 ); + + return { + + REVISION: 16, + + dom: container, + + addPanel: addPanel, + showPanel: showPanel, + + begin: function () { + + beginTime = ( performance || Date ).now(); + + }, + + end: function () { + + frames ++; + + var time = ( performance || Date ).now(); + + msPanel.update( time - beginTime, 200 ); + + if ( time >= prevTime + 1000 ) { + + fpsPanel.update( ( frames * 1000 ) / ( time - prevTime ), 100 ); + + prevTime = time; + frames = 0; + + if ( memPanel ) { + + var memory = performance.memory; + memPanel.update( memory.usedJSHeapSize / 1048576, memory.jsHeapSizeLimit / 1048576 ); + + } + + } + + return time; + + }, + + update: function () { + + beginTime = this.end(); + + }, + + // Backwards Compatibility + + domElement: container, + setMode: showPanel + + }; + +}; + +Stats.Panel = function ( name, fg, bg ) { + + var min = Infinity, max = 0, round = Math.round; + var PR = round( window.devicePixelRatio || 1 ); + + var WIDTH = 80 * PR, HEIGHT = 48 * PR, + TEXT_X = 3 * PR, TEXT_Y = 2 * PR, + GRAPH_X = 3 * PR, GRAPH_Y = 15 * PR, + GRAPH_WIDTH = 74 * PR, GRAPH_HEIGHT = 30 * PR; + + var canvas = document.createElement( 'canvas' ); + canvas.width = WIDTH; + canvas.height = HEIGHT; + canvas.style.cssText = 'width:80px;height:48px'; + + var context = canvas.getContext( '2d' ); + context.font = 'bold ' + ( 9 * PR ) + 'px Helvetica,Arial,sans-serif'; + context.textBaseline = 'top'; + + context.fillStyle = bg; + context.fillRect( 0, 0, WIDTH, HEIGHT ); + + context.fillStyle = fg; + context.fillText( name, TEXT_X, TEXT_Y ); + context.fillRect( GRAPH_X, GRAPH_Y, GRAPH_WIDTH, GRAPH_HEIGHT ); + + context.fillStyle = bg; + context.globalAlpha = 0.9; + context.fillRect( GRAPH_X, GRAPH_Y, GRAPH_WIDTH, GRAPH_HEIGHT ); + + return { + + dom: canvas, + + update: function ( value, maxValue ) { + + min = Math.min( min, value ); + max = Math.max( max, value ); + + context.fillStyle = bg; + context.globalAlpha = 1; + context.fillRect( 0, 0, WIDTH, GRAPH_Y ); + context.fillStyle = fg; + context.fillText( round( value ) + ' ' + name + ' (' + round( min ) + '-' + round( max ) + ')', TEXT_X, TEXT_Y ); + + context.drawImage( canvas, GRAPH_X + PR, GRAPH_Y, GRAPH_WIDTH - PR, GRAPH_HEIGHT, GRAPH_X, GRAPH_Y, GRAPH_WIDTH - PR, GRAPH_HEIGHT ); + + context.fillRect( GRAPH_X + GRAPH_WIDTH - PR, GRAPH_Y, PR, GRAPH_HEIGHT ); + + context.fillStyle = bg; + context.globalAlpha = 0.9; + context.fillRect( GRAPH_X + GRAPH_WIDTH - PR, GRAPH_Y, PR, round( ( 1 - ( value / maxValue ) ) * GRAPH_HEIGHT ) ); + + } + + }; + +}; + +export default Stats; diff --git a/RESURGENCE/main.js b/RESURGENCE/main.js new file mode 100644 index 0000000..b8d22cf --- /dev/null +++ b/RESURGENCE/main.js @@ -0,0 +1,243 @@ +import * as THREE from '/sandbot/words-for-the-future/RESURGENCE/GLTFLoader/js/three/build/three.module.js'; +import {FBXLoader} from 'https://cdn.jsdelivr.net/npm/three@0.118.1/examples/jsm/loaders/FBXLoader.js'; +import { GLTFLoader } from "/sandbot/words-for-the-future/RESURGENCE/GLTFLoader/GLTFLoader.js"; +import Stats from "/sandbot/words-for-the-future/RESURGENCE/jsm/libs/stats.module.js"; + + + var container; + var camera, scene, raycaster, renderer; + var boolMouseOn = false,boolMouseClick = false; + var mouse = new THREE.Vector2(), INTERSECTED; + var radius = 100, theta = 0; + + //creating custom IDs for Gltfs + const GltfId = "gltf1"; + //caught critter counter: + let count = 0 ; + let boolcrittercaught = false; + + init(); + animate(); + + function init() { + + container = document.createElement( 'div' ); + document.body.appendChild( container ); + + camera = new THREE.PerspectiveCamera( 70, window.innerWidth / window.innerHeight, 1, 10000 ); + + scene = new THREE.Scene(); + + + var light = new THREE.DirectionalLight( 0xffffff, 1 ); + light.position.set( 1, 1, 1 ).normalize(); + + + + + scene.background = new THREE.Color(0x000000, 1); + var geometry = new THREE.BoxBufferGeometry( 20, 20, 20 ); + + for ( var i = 0; i < 1; i ++ ) { + + var object = new THREE.Mesh( geometry, new THREE.MeshLambertMaterial( { color: 0xffffff } ) ); + + object.position.z = 0; + object.position.x = -25; + object.position.y = -40; + object.rotation.y = -20; + //object.rotation.x = 0; + object.name = "cube"; + //scene.add( object ); + + } + + //clickable critter placehoders: + + var object1 = new THREE.Mesh( geometry, new THREE.MeshLambertMaterial( { color: 0xffffff } ) ); + + object1.position.z = 0; + object1.position.x = 5; + object1.position.y = -40; + object1.rotation.y = -20; + + //object.rotation.x = 90; + //scene.add(object1); + + + + + //GLTF loader with carmens critter (iphone) + + var loader = new GLTFLoader(); new THREE.CubeTextureLoader(); + + + + loader.load( '/sandbot/words-for-the-future/RESURGENCE/models/ben-rock.glb', function ( gltf ) { + gltf.scene.position.x = -1; + gltf.scene.position.z = -78; + gltf.scene.position.y = 0; + gltf.scene.rotation.x = 0; + + + //gltf.scene.scale = Vector3(3,3,3); + //gtlf.material.opacity = 0.5; + //gltf.scene.material.transparent = true; + + scene.add( gltf.scene ); + gltf.scene.visible = false; + + + + //louisa's code: onclick (window is placeholder for what should be clicked) makes it appear: + document.getElementById("buttonright").addEventListener("mousedown", function(){ + gltf.scene.visible = !gltf.scene.visible; + scene.add( light ); + console.log( "map is visible now" ); + }); + + }, undefined, function ( error ) { + + console.error( error ); + + } ); + + + + + + + raycaster = new THREE.Raycaster(); + + renderer = new THREE.WebGLRenderer(); + renderer.setPixelRatio( window.devicePixelRatio ); + renderer.setSize( window.innerWidth, window.innerHeight ); + container.appendChild( renderer.domElement ); + + + + window.addEventListener( 'mousedown', onDocumentMouseDown, false ); + //document.addEventListener( 'mousedown', onDocumentMouseDown, false ); + window.addEventListener( 'mousemove', onMouseMove, false ); + window.addEventListener( 'resize', onWindowResize, false ); + + + // var onDocumentMouseDown = function ( event ) { + // mouse.x = ( event.clientX / window.innerWidth ) * 2 - 1; + // mouse.y = - ( event.clientY / window.innerHeight ) * 2 + 1; + // var intersects = raycaster.intersectObjects( object ); + // var intersection = intersects[0], object = intersection.object; + // object.visible = false ; + // }; + } + + + + + function onWindowResize() { + + camera.aspect = window.innerWidth / window.innerHeight; + camera.updateProjectionMatrix(); + + renderer.setSize( window.innerWidth, window.innerHeight ); + + } + + function onMouseMove( event ) { + + // calculate mouse position in normalized device coordinates + // (-1 to +1) for both components + + mouse.x = ( event.clientX / window.innerWidth ) * 2 - 1; + mouse.y = - ( event.clientY / window.innerHeight ) * 2 + 1; + + } + + + + // + //const stats = Stats() + //document.body.appendChild(stats.dom) + + + + + function animate() { + + requestAnimationFrame( animate ); + render(); + + + } + const ground = new THREE.Mesh( + new THREE.PlaneBufferGeometry( 1000, 1000, 1, 1 ), + new THREE.MeshLambertMaterial( { color: 0xffffff} ) + + + ); + + ground.position.z = 95; + + ground.visible = true; + //scene.add( ground ); + + + function render() { + + + theta += 0.1; + + camera.position.x = radius * Math.sin( THREE.MathUtils.degToRad( theta ) ); + camera.position.y = radius * Math.sin( THREE.MathUtils.degToRad( theta ) ); + camera.position.z = radius * Math.cos( THREE.MathUtils.degToRad( theta ) ); + camera.lookAt( scene.position ); + + camera.updateMatrixWorld(); + + // find intersections + + raycaster.setFromCamera( mouse, camera ); + + var intersects = raycaster.intersectObjects( scene.children); + + + + //console.log('mouse click is '+boolMouseClick); + + //console.log('mousedown'); + //louisa's code, trying to make the pop up happen onclick of an object + if(boolMouseOn == true && boolMouseClick == true ){ + console.log("its a hit!"); + + + + + + } + //turn off mouseclick after possible event + + + + renderer.render( scene, camera ); + + } + + function onDocumentMouseDown( event ) { + + event.preventDefault(); + switch ( event.which ) { + case 1: // left mouse click + //console.log('click!'); + boolMouseClick = true; + //mouse.x = ( event.clientX / window.innerWidth ) * 2 - 1; + //mouse.y = - ( event.clientY / window.innerHeight ) * 2 + 1; + //mouse.unproject( camera ); + //addPoint( mouse ); + break; + + case 3: // right mouse click + //removeLastPoint(); + break; + } + } + \ No newline at end of file diff --git a/RESURGENCE/models/a_dead_island.glb b/RESURGENCE/models/a_dead_island.glb new file mode 100644 index 0000000..b62e4c1 Binary files /dev/null and b/RESURGENCE/models/a_dead_island.glb differ diff --git a/RESURGENCE/models/ben-rock.glb b/RESURGENCE/models/ben-rock.glb new file mode 100644 index 0000000..306648b Binary files /dev/null and b/RESURGENCE/models/ben-rock.glb differ diff --git a/RESURGENCE/models/door.glb b/RESURGENCE/models/door.glb new file mode 100644 index 0000000..d1ec827 Binary files /dev/null and b/RESURGENCE/models/door.glb differ diff --git a/RESURGENCE/models/doorgreen.glb b/RESURGENCE/models/doorgreen.glb new file mode 100644 index 0000000..4564a93 Binary files /dev/null and b/RESURGENCE/models/doorgreen.glb differ diff --git a/RESURGENCE/models/map.glb b/RESURGENCE/models/map.glb new file mode 100644 index 0000000..e49bbc7 Binary files /dev/null and b/RESURGENCE/models/map.glb differ diff --git a/RESURGENCE/newstyle.css b/RESURGENCE/newstyle.css new file mode 100644 index 0000000..78a1602 --- /dev/null +++ b/RESURGENCE/newstyle.css @@ -0,0 +1,305 @@ + +*{ + margin: 0; + padding: 0; + box-sizing: border-box; + transition: 1s; +} + + + +body { margin: 1em; background: black; font-family: 'Uncial Antiqua', serif; color: black; overflow: hidden; overflow-x: hidden; padding-top: 10px; + + +} + + font-family: 'Rakkas', cursive; + + font-family: 'Spectral', serif; + + font-family: 'Texturina', serif; + + font-family: 'Uncial Antiqua', cursive; + +canvas { + width: 100%; + height: 100%; + display: flex; + align-items: center; + z-index: 1; + position:fixed; + top:0; + bottom:0; + left:0; + right:0; + + } + +#quote{ + font-size: 10px; + color: orange} + + + +@font-face {font-family: Anka; +src: url("fonts/AnkaCoder-b.ttf");} + +@font-face {font-family: wftfs; +src: url("wftfs-Regular.otf");} + + +.cover { + width: 100%; + max-width: 100%; + height:100%; + background-color:#000000; + padding: 10px; + border-radius: 5px; + box-shadow: 0 0 10px 2px; + z-index: 10; + color: black; + position: fixed; + top: 50%; + left: 50%; + z-index:9; + transform: translate(-50%, -50%); + opacity: 1; + visibility:hidden; +} + + +#game-text{ +position: sticky; +margin-top: 20px; +z-index: 10; +max-width: 30%; + top: 50%; + left: 50%; + transform: translate(-50%, -50%);} + +/*button { + width: 1%; + height: 30px; + text-align:left; + font-size: 1em; + margin-top:15px; + padding: 12px 20px; + margin: 8px 0; + box-sizing: border-box; + border: red; + font-family: Anka; + color: yellowgreen; + background-color:rgba(255, 0, 0, 0);; + position: fixed; + text-decoration: none; + z-index: 10; + + top: 50%; + border-radius: 20px; + +} + +button:hover { + width: 1%; + height: 30px; + text-align:left; + font-size: 1em; + margin-top:15px; + padding: 12px 20px; + margin: 8px 0; + box-sizing: border-box; + border: red; + font-family: Anka; + color: yellowgreen; + background-color:rgba(255, 0, 0, 0); + position: fixed; + text-decoration: none; + z-index: 10; + top: 50%; + +scale: 160%; + +}*/ + +#yes{ + left: 35%; +} + + +#no{ + right:35%; +} + +#forward{ + top:35%; + left: 50%; + transform: translate(-50%, -50%); +} + + +#back{ + top: 70%; + left: 50%; + transform: translate(-50%, -50%); +} + +.container { + width: 60%; + max-width: 70%; + height: 80%; + background-color: #b0abb4de; + padding: 10px; + border-radius: 5px; + z-index: 10; + color: blue; + position:fixed; + top: 20em; + left: 50%; + transform: translate(-50%, -50%); + opacity: 1; + padding: 1em; + background-color: grey; + box-shadow: 0 0 40px #214c12; + overflow: scroll; + overflow-x: hidden; +} + +.container:hover{box-shadow: 0 0 60px #FF2200;} + +.container:hover{box-shadow: 0 0 10px black, 0 0 20px black, 0 0 30px yellowgreen;} + +.container2 { + width: 50%; + max-width: 80%; + background-color: white; + padding: 10px; + border-radius: 5px; + box-shadow: 0 0 10px 2px; + z-index: 10; + color: #214c12; + position: fixed; + top: 30%; + left: 50%; + transform: translate(-50%, -50%); + opacity: 0; + visibility: hidden; +} + + + +.btn { + background-color: grey; + border: rgba(255, 0, 0, 0); + border-radius: 5px; + color:#214c12; + outline: none; + z-index: 11; + font-family: Anka; + position: fixed; + top: 10px; + left: 10px; + max-width: 50%; + text-decoration: none; + box-shadow: 0 0 10px #214c12; + padding: 2px; +} + +.btn2 { + background-color: #bfeaea; + border: rgba(255, 0, 0, 0); + border-radius: 5px; + color:#214c12; + outline: none; + z-index: 11; + font-family: Anka; + position: fixed; + top: 10px; + right: 10px; + max-width: 50%; + text-decoration: none; + box-shadow: 0 0 10px #214c12; + padding: 2px; +} + +.btn3 { + background-color: #bfeaea; + border: rgba(255, 0, 0, 0); + border-radius: 5px; + color:#214c12; + outline: none; + z-index: 11; + font-family: Anka; + position: fixed; + top: 3em; + left: 10px; + max-width: 50%; + text-decoration: none; + box-shadow: 0 0 10px #214c12; + padding: 2px; +} +#text{z-index: 10; +color: #7f00ff} + + +p{z-index: 110; + max-width: 75ch; + color:#3f00ff; + font-family: 'Texturina', serif; +} + +a{ text-decoration: none; +color: red; +} + +a:hover{ text-decoration: none; +color: red; 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Resurgence by Isabelle Stengers

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“We are the grandchildren of the witches you were not able to burn” – Tish Thawer

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I will take this motto, which has flourished in recent protests in the United States, as the defiant cry of resurgence – refusing to define the past as dead and buried. Not only were the witches killed all over Europe, but their memory has been buried by the many retrospective analyses which triumphantly concluded that their power and practices were a matter of imaginary collective construction affecting both the victims and the inquisitors. Eco-feminists have proposed a very different understanding of the ‘burning times.’ They associate it with the destruction of rural cultures and their old rites, with the violent appropriation of the commons, with the rule of a law that consecrated the unquestionable rights of the owner, and with the invention of the modern workers who can only sell their labour-power on the market as a commodity. Listening to the defiant cry of the women who name themselves granddaughters of the past witches, I will go further. I will honour the vision which, since the Reagan era, has sustained reclaiming witches such as Starhawk, who associate their activism with the memory of a past earth-based religion of the goddess - who now ‘returns.’ Against the ongoing academic critical judgement, I claim that the witches’ resurgence, their chant about the goddess’ return, and inseparably their return to the goddess, should not be taken as a ‘regression.’

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Given the threatening unknown our future is facing, the question of academic judgements may seem like a rather futile one. Very few, including academics themselves, among those who disqualify the resurgence of witches as regressive, are effectively forced to think by this future, which the witches resolutely address. They are too busy living up to the relentless neoliberal demands which they have now to satisfy in order to survive. However, if there is something to be learned from the past, it may well be the way in which defending the victims of eradicative operations has so often deemed futile. In one way or another, these victims deserved their fate, or this fate was the price to be unhappily paid for progress. “Creative destructions,” economists croon. What we have now discovered is that these destructions come with cascading and interconnecting consequences. Worlds are destroyed and no such destruction is ever deserved. This is why I will address the academic world, which, in turns, is facing its own destruction. Probably, because it is the one I know best, also because of its specific responsibility in the formation of the generations which will have to make their way in the future.

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Resurgence often refers to the reappearance of something defined as deleterious – e.g. an agricultural pest or an epidemic vector – after a seemingly successful operation of eradication. It may also refer to the reworlding of a landscape after a natural catastrophe or a devastating industrial exploitation. Today, such a reworlding is no longer understood by researchers in ecology in terms of the restoration of some stable equilibrium. Ecology has succeeded in freeing itself from the association of what we call “natural” with an ordered reality verifying scientific generalization. In contrast, academic judgements entailing the idea of regression still imply what has been called “The Ascent of Man:” “Man” irrevocably turning his back on past attachments, beliefs, and scruples, affirming his destiny of emancipation from traditions and the order of nature. Even critical humanities including feminist studies, whatever their deconstruction of the imperialist, sexist, and colonialist character of the “Ascent of Man” motto, still do not know how to disentangle themselves from the reference to a rational progress which opposes the possibility of taking seriously the contemporary resurgence of what does not conform to a materialist, that is, secularist, position.

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If resurgence is a word for the future, it is because we may use it in the way the granddaughters of the witches do: as a challenge to eradicative operations, with which what we call materialism and secularism are irreducibly associated, are still going on today. It is quite possible to inherit the struggle against the oppressive character of religious institutions without forgetting what came together with materialism and secularism; the destruction of what opposed the transition to capitalism both in Europe and in the colonized world.1 It is quite possible to resist the idea that what was destroyed is irrevocably lost and that we should have the courage to accept this loss. Certainly it cannot be a question of resurrecting the past. What eventually returns is also reinventing itself as it takes root in a new environment, challenging the way it defined its destruction as a fait accompli. In the academic environment, defining as a fait accompli the destruction of the witches might be the only true point of agreement uniting two antagonist powers: those who take as an “objective fact” that the magic they claimed to practice does not exist, and those who understand magic as a cultural-subjective construction belonging to the past.

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Getting rid of the Objectivity – Subjectivity banners

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In the academic world eradicative operations are a routine, performed as ‘methodology’ by researchers who see it as their duty to disentangle situations in order to define them. Some will extract information about human practices only and give (always subjective) meaning to these situations. Others will only look at ‘(objective) facts’, the value of which should be to hold independently of the way humans evaluate them. Doing so, these academics are not motivated by a quest for a relevant approach. Instead they act as mobilized armies of either objectivity or subjectivity, destroying complex situations that might have slowed them down, and would have forced them to listen to voices protesting against the way their method leaves unattended knowledge that matters to others.

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That objectivity is a mobilizing banner is easy to demonstrate. It would have no power if it were taken in the strict experimental sense, where it means the obtaining of an exceptional and fragile achievement. An experimental ‘objective’ fact is always extracted by active questioning. However, achieving objectivity then implies the creation of a situation that gives ‘the thing questioned’ the very unusual power to authorize one interpretation that stands against any other possible one. Experimental objectivity is thus the name of an event, not the outcome of a method. Further, it is fragile because it is lost as soon as the experimental facts leave the ‘lab’ – the techno-social rarefied milieu required by experimental achievements – and become ingredients in messy real world situations. When a claim of objectivity nevertheless sticks to those facts outside of the lab, it transforms this claim into a devastating operator. As for the kind of objectivity claimed by the sheer extraction of “data” or by the unilateral imposition of a method, it is a mere banner for conquest. On the other hand, holding the ground of subjectivity against the claims of objectivity, not so very often means empowering the muted voices that point to ignored or disqualified matters. Scientists trying to resist the pseudo-facts that colonialize their fields, caring for a difference to be made between ‘good’ (relevant) and ‘bad’ (abusive) sciences, have found no allies in critical sciences.[2] For those who are mobilized under the banner of subjectivity such scruples are ludicrous.

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Academic events such as theoretical turns or scientific revolutions – including the famous Anthropocene turn – won’t help to foster cooperative relations or care for collaborative situations. Indeed, such events typically signal an advance, usually the creative destruction of some dregs of common sense that are still contaminating what was previously accepted. In contrast, if there were to be resurgence it would signal itself by the ‘demoralization’ of the perspective of advance. Demoralization is not however about the sad recognition of a limit to the possibility of knowing. It rather conveys the possibility of reducing the feeling of legitimacy that academic researchers have about their objectivity – subjectivity methodologies. The signal of a process of resurgence might be researchers deserting their position when they recognise that subjectivity and objectivity are banners only, imperatives to distance themselves from concerned voices, protesting against the dismemberment of what they care for.

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Making common sense

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Addressing situations that are a matter of usually diverging concerns in a way that resists dismembering them, means betraying the mobilization for the advance of knowledge. The resurgence of cooperative and non-antagonist relations points towards situation-centred achievements. It requires that the situation itself be given the power to make those concerned think together, that is to induce a laborious, hesitant, and sometimes conflictual collective learning process of what each particular situation demands from those who approach it. This requirement is a practical one. If the eradicative power of the objective/subjective disjunction is to collapse and give way to a collective process, we need to question many academic customs. The ritual of presentations with PowerPoint authoritative bullet-point like arguments, for instance, perfectly illustrates the way situations are mobilized in a confrontational game, when truth is associated with the power of one position to defeat the others. In addition, we may need to find inspiration in ancient customs. New academic rituals may learn for instance from the way the traditional African palavers or the sweat lodge rituals in North American First Nations, these examples ward off one-way-truths and weaponized arguments.

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Today, many activist groups share with reclaiming contemporary witches the reinvention of the art of consensus-making deliberation; giving the issue of deliberation the power to make common sense. What they learn to artfully design are resurgent ways to take care of the truth, to protect it from power games and relate it to an agreement - generated by a very deliberative process - that no party may appropriate it. They experiment with practices that generate the capacity to think and feel together. For the witches, convoking the goddess is giving room to the power of generativity. When they chant “She changes everything She touches, and everything She touches changes,” they honour a change that affects everything, but to which each affected being responds in its own way and not through some conversion [i]She[i] would command. Of course, such arts presuppose a shared trust in the possibility of generativity and we are free to suspect some kind of participatory role-playing. But refusing to participate is also playing a role. Holding to our own reasons demands that, when we feel we understand something about the other’s position, we suppress any temptation to doubt the kind of authority we confer to our reasons, as if such a hesitation was a betrayal of oneself. What if the art of transformative encounters cultivated the slow emergence and intensification of a mutual sensitivity? A mutual sensitivity that generates a change in the relationship that each entertains with their own reasons.

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Polyphonic song

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Curiously enough the resurgence of the arts of partnering around a situation, of composing and weaving together relevant but not authoritative reasons, echoes with the work of laboratory biologists. Against the biotechnological redefinition of biology they claim that the self-contained isolable organisms might be a dubious abstraction. What they study are not individual beings competing for having their interest prevail, but multiple specific assemblages between interdependent mutually sensitive partners weaving together capacities to make a living which belong to none of them separately. “We have never been individuals” write Scott Gilbert and his colleagues who are specialists in evolutionary developmental biology.[3] “It is the song that matters, not the singer,” adds Ford Doolittle, specialist in evolutionary microbiology, emphasizing the open character of assemblages, the composition of which (the singers) can change as long as the cooperative pattern, the polyphonic song, is preserved.[4] In other words, biologists now discover that both in the lab and in the field, they have to address cooperative worlds and beings whose ways of life emerge together with their participation in worlding compositions. One could be tempted to speak about a ‘revolution’ in biology, but it can also be said that it is a heresy, a challenge against the mobilizing creed in the advance of science. Undoubtedly, biology is becoming more interesting, but it is losing its power to define a conquering research direction, since each “song”; each assemblage, needs to be deciphered as such. If modes of interdependence are what matters, extraction and isolation are no longer the royal road for progress. No theory - including complex or systemic ones - can define [i]a priori[i] its rightful object, that is, anticipate the way a situation should be addressed.

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This “heretical” biology is apt to become an ally in the resurgence of cooperative relations between positive sciences and humanities at a time when we vitally need ‘demobilization,’ relinquishing banners which justified our business-as-usual academic routines. I will borrow Anna Tsing’s challenging proposition, that our future might be about learning to live in “capitalist ruins.”[5] That is, in the ruins of the socio-technical organizational infrastructures that ensured our business-as-usual life. Ruins may be horrific, but Tsing recognises ruins also as a place for the resurgence and cultivation of an art of paying attention, which she calls the “art of noticing.” Indeed ruins are places where vigilance is required, where the relevance of our reasons is always at risk, where trusting the abstractions we entertain is inviting disaster. Ruins demand consenting to the precariousness of perspectives taken for granted, that ‘stable’ capitalist infrastructures allowed us, or more precisely, allowed some of us. Tsing follows the wild Matsutake mushroom that thrives in ruined forests - forests ruined by natural catastrophes or by blind extraction, but also by projects meant to ensure a ‘rational and sustainable’ exploitation, that discovered too late that what they had eliminated as prejudicial or expendable [I]did matter[I]. Devastation, the unravelling of the weaving that enables life, does not need to be willful, deliberate – blindly trusting an idea may be sufficient. As for Tsing, she is not relying on overbearing ideas. What she notices is factual but does not allow to abstract what would objectively matter from situational entanglements, in this case articulated by the highly sought mushroom and its [i]symbionts[i] including humans. Facts, here, are not stepping stones for a conquering knowledge and do not oppose objectivity to subjectivity. What is noticed is first of all what appears as interesting or intriguing. It may be enlightening but the light is not defining the situation, it rather generates new possible ways of learning, of weaving new relations with the situation.

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We are the weavers and we are the woven

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If our future is in the ruins, the possibility of resurgence is the possibility of cultivating, of weaving again what has been unravelled in the name of “the Ascent of Man.” We are not to take ourselves for the weavers after having played the masters, or the assemblers after having glorified extraction. “We are the weavers and we are the web,” sing the contemporary witches who know and cultivate generativity.[6] The arts of cultivation are arts of interdependence, of consenting to the precariousness of lives involved in each other. Those who cultivate do their part, trusting that others may do their own but knowing that what they aim at depends on what cannot be commanded or explained. Those who claim to explain growth or weaving are often only telling about the preparations required by what they have learned to foster, or they depend on the selection of what can be obtained and mobilized ‘off-ground’ in rarefied, reproducible environments. In the ruins of such environments, resurgence is not a return to the past, rather the challenge to learn again what we were made to forget – but what some have refused to forget.

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When the environmental, social and climate justice, multiracial [i]Alliance of alliances[i], led by women, gender oppressed people of colour, and Indigenous Peoples, claim that “it takes roots to grow resistance,” or else, “to weather the storm,” they talk about the need to name and honour what sustains them and what they struggle for.[7] When those who try to revive the ancient commons, which were destroyed all over the world in the name of property rights, claim that there is “no commons without commoning,” that is, without learning how to “think like commoners,” they talk about the need to not only reclaim what was privatized but to recover the capacity to be involved with others in the ongoing concern and care for their maintenance of the commons.[8] Resurgence is a word for the future as it confronts us with what William James called a ‘genuine option concerning this future’. Daring to trust, as do today’s activists, in an uncertified, indeed improbable, not to say ‘speculative,’ possibility of reclaiming a future worth living and dying for, may seem ludicrous. But the option cannot be avoided because today there is no free standing place outside of the alternative: condescending skepticism, refusing to opt or opting against resurgence, are equivalent.

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Such an option has no privileged ground. Neither the soil sustaining the roots nor the mutually involved of interdependent partners composing a commons, can be defined in abstraction from the always-situated learning process of weaving relations that matter. These are generative processes liable to include new ways of being with new concerns. New voices enter a song, both participating in this song and contributing to reinvent it. For us academics it does not mean giving up scientific facts, critical attention, or critical concern. It demands instead that such facts, attention, and concerns are liable to participate in the song, even if it means adding new dimensions that complicate it. As such, even scientific facts thus communicate with what William James presented as the “great question” associated with a pluriverse in the making: “does it, with our additions, rise or fall in value? Are the additions worthy or unworthy?”[9] Such a question is great because it obviously cannot get a certified answer but demands that we do accept that what we add makes a difference in the world and that we have to answer for the manner of this difference.

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Footnotes

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  1. Silvia Federici, [i]Caliban and the Witch. Women, the Body and Primitive Accumulation[i]. Brooklyn, NY: Autonomedia, 2004. 2. Rose, Hilary. “My Enemys Enemy Is, Only Perhaps, My Friend.” [i]Social Text[i], no. 45 (1996): 61-80. doi:10.2307/466844.3. Gilbert, Scott F., Jan Sapp, and Alfred I. Tauber. “A Symbiotic View of Life: We Have Never Been Individuals.” [i]The Quarterly Review of Biology[i] 87, no. 4 (2012): 325-41. doi:10.1086/668166.4. Doolittle, W. Ford, and Austin Booth. “It’s the Song, Not the Singer: An Exploration of Holobiosis and Evolutionary Theory.” [i]Biology & Philosophy[i] 32, no. 1 (2016): 5-24. doi:10.1007/s10539-016-9542-2.5. Tsing, Anna Lowenhaupt. [i]The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins[i]. Princeton, NJ: Princeton University Press, 2015.6. Starhawk. [i]Dreaming the Dark: Magic, Sex, and Politics[i]. Boston, MA: Beacon Press, 1997. 225.7. “It Takes Roots – An Alliance of Alliances.” It Takes Roots. http://ittakesroots.org/.8. Bollier, David. [i]Think like a Commoner: A Short Introduction to the Life of the Commons[i]. Gabriola Island, BC, Canada: New Society Publishers, 2014.9. William, James. [i]Pragmatism: A New Name for Some Old Ways of Thinking[i]. New York, NY: Longman Green and Co., 1907. 98.

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+ + + + + + \ No newline at end of file diff --git a/RESURGENCE/page0.html b/RESURGENCE/page0.html new file mode 100644 index 0000000..dc03d76 --- /dev/null +++ b/RESURGENCE/page0.html @@ -0,0 +1,2 @@ + here is your fate: +RESURGENCE | Isabelle Stengers diff --git a/RESURGENCE/page1.html b/RESURGENCE/page1.html new file mode 100644 index 0000000..ee6bdff --- /dev/null +++ b/RESURGENCE/page1.html @@ -0,0 +1,2 @@ + here is your fate: +“ We are the grandchildren of the witches you were not able to burn ” – Tish Thawer diff --git a/RESURGENCE/page10.html b/RESURGENCE/page10.html new file mode 100644 index 0000000..bb82dde --- /dev/null +++ b/RESURGENCE/page10.html @@ -0,0 +1,2 @@ + here is your fate: +Given the threatening unknown our future is facing , the question of academic judgements may seem like a rather futile one . diff --git a/RESURGENCE/page100.html b/RESURGENCE/page100.html new file mode 100644 index 0000000..8615d01 --- /dev/null +++ b/RESURGENCE/page100.html @@ -0,0 +1,2 @@ + here is your fate: +When the environmental , social and climate justice , multiracial [ i]Alliance of alliances[i ] , led by women , gender oppressed people of colour , and Indigenous Peoples , claim that “ it takes roots to grow resistance , ” or else , “ to weather the storm , ” they talk about the need to name and honour what sustains them and what they struggle for.[7 ] When those who try to revive the ancient commons , which were destroyed all over the world in the name of property rights , claim that there is “ no commons without commoning , ” that is , without learning how to “ think like commoners , ” they talk about the need to not only reclaim what was privatized but to recover the capacity to be involved with others in the ongoing concern and care for their maintenance of the commons.[8 ] Resurgence is a word for the future as it confronts us with what William James called a ‘ genuine option concerning this future ’ . diff --git a/RESURGENCE/page101.html b/RESURGENCE/page101.html new file mode 100644 index 0000000..a6ebbf9 --- /dev/null +++ b/RESURGENCE/page101.html @@ -0,0 +1,2 @@ + here is your fate: +Daring to trust , as do today ’ s activists , in an uncertified , indeed improbable , not to say ‘ speculative , ’ possibility of reclaiming a future worth living and dying for , may seem ludicrous . diff --git a/RESURGENCE/page102.html b/RESURGENCE/page102.html new file mode 100644 index 0000000..782b882 --- /dev/null +++ b/RESURGENCE/page102.html @@ -0,0 +1,2 @@ + here is your fate: +But the option cannot be avoided because today there is no free standing place outside of the alternative : condescending skepticism , refusing to opt or opting against resurgence , are equivalent . diff --git a/RESURGENCE/page103.html b/RESURGENCE/page103.html new file mode 100644 index 0000000..96efcae --- /dev/null +++ b/RESURGENCE/page103.html @@ -0,0 +1,2 @@ + here is your fate: +Such an option has no privileged ground . diff --git a/RESURGENCE/page104.html b/RESURGENCE/page104.html new file mode 100644 index 0000000..c3273e5 --- /dev/null +++ b/RESURGENCE/page104.html @@ -0,0 +1,2 @@ + here is your fate: +Neither the soil sustaining the roots nor the mutually involved of interdependent partners composing a commons , can be defined in abstraction from the always-situated learning process of weaving relations that matter . diff --git a/RESURGENCE/page105.html b/RESURGENCE/page105.html new file mode 100644 index 0000000..0cabc40 --- /dev/null +++ b/RESURGENCE/page105.html @@ -0,0 +1,2 @@ + here is your fate: +These are generative processes liable to include new ways of being with new concerns . diff --git a/RESURGENCE/page106.html b/RESURGENCE/page106.html new file mode 100644 index 0000000..34ca1e4 --- /dev/null +++ b/RESURGENCE/page106.html @@ -0,0 +1,2 @@ + here is your fate: +New voices enter a song , both participating in this song and contributing to reinvent it . diff --git a/RESURGENCE/page107.html b/RESURGENCE/page107.html new file mode 100644 index 0000000..752b299 --- /dev/null +++ b/RESURGENCE/page107.html @@ -0,0 +1,2 @@ + here is your fate: +For us academics it does not mean giving up scientific facts , critical attention , or critical concern . diff --git a/RESURGENCE/page108.html b/RESURGENCE/page108.html new file mode 100644 index 0000000..1b95eed --- /dev/null +++ b/RESURGENCE/page108.html @@ -0,0 +1,2 @@ + here is your fate: +It demands instead that such facts , attention , and concerns are liable to participate in the song , even if it means adding new dimensions that complicate it . diff --git a/RESURGENCE/page109.html b/RESURGENCE/page109.html new file mode 100644 index 0000000..db7d55a --- /dev/null +++ b/RESURGENCE/page109.html @@ -0,0 +1,2 @@ + here is your fate: +As such , even scientific facts thus communicate with what William James presented as the “ great question ” associated with a pluriverse in the making : “ does it , with our additions , rise or fall in value ? diff --git a/RESURGENCE/page11.html b/RESURGENCE/page11.html new file mode 100644 index 0000000..eed3a36 --- /dev/null +++ b/RESURGENCE/page11.html @@ -0,0 +1,2 @@ + here is your fate: +Very few , including academics themselves , among those who disqualify the resurgence of witches as regressive , are effectively forced to think by this future , which the witches resolutely address . diff --git a/RESURGENCE/page110.html b/RESURGENCE/page110.html new file mode 100644 index 0000000..31ed8ac --- /dev/null +++ b/RESURGENCE/page110.html @@ -0,0 +1,2 @@ + here is your fate: +Are the additions worthy or unworthy ? diff --git a/RESURGENCE/page111.html b/RESURGENCE/page111.html new file mode 100644 index 0000000..e93d41f --- /dev/null +++ b/RESURGENCE/page111.html @@ -0,0 +1,2 @@ + here is your fate: +” [ 9 ] Such a question is great because it obviously cannot get a certified answer but demands that we do accept that what we add makes a difference in the world and that we have to answer for the manner of this difference . diff --git a/RESURGENCE/page112.html b/RESURGENCE/page112.html new file mode 100644 index 0000000..0aee1df --- /dev/null +++ b/RESURGENCE/page112.html @@ -0,0 +1,2 @@ + here is your fate: +Footnotes 1 . diff --git a/RESURGENCE/page113.html b/RESURGENCE/page113.html new file mode 100644 index 0000000..96c19bd --- /dev/null +++ b/RESURGENCE/page113.html @@ -0,0 +1,2 @@ + here is your fate: +Silvia Federici , [ i]Caliban and the Witch . diff --git a/RESURGENCE/page114.html b/RESURGENCE/page114.html new file mode 100644 index 0000000..b501b46 --- /dev/null +++ b/RESURGENCE/page114.html @@ -0,0 +1,2 @@ + here is your fate: +Women , the Body and Primitive Accumulation[i ] . diff --git a/RESURGENCE/page115.html b/RESURGENCE/page115.html new file mode 100644 index 0000000..49130c3 --- /dev/null +++ b/RESURGENCE/page115.html @@ -0,0 +1,2 @@ + here is your fate: +Brooklyn , NY : Autonomedia , 2004 . diff --git a/RESURGENCE/page116.html b/RESURGENCE/page116.html new file mode 100644 index 0000000..b2d37e8 --- /dev/null +++ b/RESURGENCE/page116.html @@ -0,0 +1,2 @@ + here is your fate: +2 . diff --git a/RESURGENCE/page117.html b/RESURGENCE/page117.html new file mode 100644 index 0000000..2a555f8 --- /dev/null +++ b/RESURGENCE/page117.html @@ -0,0 +1,2 @@ + here is your fate: +Rose , Hilary . diff --git a/RESURGENCE/page118.html b/RESURGENCE/page118.html new file mode 100644 index 0000000..04c2f32 --- /dev/null +++ b/RESURGENCE/page118.html @@ -0,0 +1,2 @@ + here is your fate: +" My Enemys Enemy Is , Only Perhaps , My Friend . diff --git a/RESURGENCE/page119.html b/RESURGENCE/page119.html new file mode 100644 index 0000000..3773b5b --- /dev/null +++ b/RESURGENCE/page119.html @@ -0,0 +1,2 @@ + here is your fate: +" [ i]Social Text[i ] , no . diff --git a/RESURGENCE/page12.html b/RESURGENCE/page12.html new file mode 100644 index 0000000..7ec5007 --- /dev/null +++ b/RESURGENCE/page12.html @@ -0,0 +1,2 @@ + here is your fate: +They are too busy living up to the relentless neoliberal demands which they have now to satisfy in order to survive . diff --git a/RESURGENCE/page120.html b/RESURGENCE/page120.html new file mode 100644 index 0000000..081340d --- /dev/null +++ b/RESURGENCE/page120.html @@ -0,0 +1,2 @@ + here is your fate: +45 ( 1996 ) : 61-80 . diff --git a/RESURGENCE/page121.html b/RESURGENCE/page121.html new file mode 100644 index 0000000..2619cf3 --- /dev/null +++ b/RESURGENCE/page121.html @@ -0,0 +1,2 @@ + here is your fate: +doi:10.2307/466844 . diff --git a/RESURGENCE/page122.html b/RESURGENCE/page122.html new file mode 100644 index 0000000..4d62d6b --- /dev/null +++ b/RESURGENCE/page122.html @@ -0,0 +1,2 @@ + here is your fate: +3 . diff --git a/RESURGENCE/page123.html b/RESURGENCE/page123.html new file mode 100644 index 0000000..8e5ec40 --- /dev/null +++ b/RESURGENCE/page123.html @@ -0,0 +1,2 @@ + here is your fate: +Gilbert , Scott F. , Jan Sapp , and Alfred I. Tauber . diff --git a/RESURGENCE/page124.html b/RESURGENCE/page124.html new file mode 100644 index 0000000..5105c75 --- /dev/null +++ b/RESURGENCE/page124.html @@ -0,0 +1,2 @@ + here is your fate: +" A Symbiotic View of Life : We Have Never Been Individuals . diff --git a/RESURGENCE/page125.html b/RESURGENCE/page125.html new file mode 100644 index 0000000..9e1e6c0 --- /dev/null +++ b/RESURGENCE/page125.html @@ -0,0 +1,2 @@ + here is your fate: +" [ i]The Quarterly Review of Biology[i ] 87 , no . diff --git a/RESURGENCE/page126.html b/RESURGENCE/page126.html new file mode 100644 index 0000000..34bf2e9 --- /dev/null +++ b/RESURGENCE/page126.html @@ -0,0 +1,2 @@ + here is your fate: +4 ( 2012 ) : 325-41 . diff --git a/RESURGENCE/page127.html b/RESURGENCE/page127.html new file mode 100644 index 0000000..3e5c57d --- /dev/null +++ b/RESURGENCE/page127.html @@ -0,0 +1,2 @@ + here is your fate: +doi:10.1086/668166 . diff --git a/RESURGENCE/page128.html b/RESURGENCE/page128.html new file mode 100644 index 0000000..9eecdfc --- /dev/null +++ b/RESURGENCE/page128.html @@ -0,0 +1,2 @@ + here is your fate: +4 . diff --git a/RESURGENCE/page129.html b/RESURGENCE/page129.html new file mode 100644 index 0000000..b09d947 --- /dev/null +++ b/RESURGENCE/page129.html @@ -0,0 +1,2 @@ + here is your fate: +Doolittle , W. Ford , and Austin Booth . diff --git a/RESURGENCE/page13.html b/RESURGENCE/page13.html new file mode 100644 index 0000000..62a4005 --- /dev/null +++ b/RESURGENCE/page13.html @@ -0,0 +1,2 @@ + here is your fate: +However , if there is something to be learned from the past , it may well be the way in which defending the victims of eradicative operations has so often deemed futile . diff --git a/RESURGENCE/page130.html b/RESURGENCE/page130.html new file mode 100644 index 0000000..fd3e397 --- /dev/null +++ b/RESURGENCE/page130.html @@ -0,0 +1,2 @@ + here is your fate: +" It ’ s the Song , Not the Singer : An Exploration of Holobiosis and Evolutionary Theory . diff --git a/RESURGENCE/page131.html b/RESURGENCE/page131.html new file mode 100644 index 0000000..1c8bb24 --- /dev/null +++ b/RESURGENCE/page131.html @@ -0,0 +1,2 @@ + here is your fate: +" [ i]Biology & Philosophy[i ] 32 , no . diff --git a/RESURGENCE/page132.html b/RESURGENCE/page132.html new file mode 100644 index 0000000..d13171e --- /dev/null +++ b/RESURGENCE/page132.html @@ -0,0 +1,2 @@ + here is your fate: +1 ( 2016 ) : 5-24 . diff --git a/RESURGENCE/page133.html b/RESURGENCE/page133.html new file mode 100644 index 0000000..2664c9b --- /dev/null +++ b/RESURGENCE/page133.html @@ -0,0 +1,2 @@ + here is your fate: +doi:10.1007/s10539-016-9542-2 . diff --git a/RESURGENCE/page134.html b/RESURGENCE/page134.html new file mode 100644 index 0000000..00b8e46 --- /dev/null +++ b/RESURGENCE/page134.html @@ -0,0 +1,2 @@ + here is your fate: +5 . diff --git a/RESURGENCE/page135.html b/RESURGENCE/page135.html new file mode 100644 index 0000000..e83c927 --- /dev/null +++ b/RESURGENCE/page135.html @@ -0,0 +1,2 @@ + here is your fate: +Tsing , Anna Lowenhaupt . diff --git a/RESURGENCE/page136.html b/RESURGENCE/page136.html new file mode 100644 index 0000000..66a5d54 --- /dev/null +++ b/RESURGENCE/page136.html @@ -0,0 +1,2 @@ + here is your fate: +[ i]The Mushroom at the End of the World : On the Possibility of Life in Capitalist Ruins[i ] . diff --git a/RESURGENCE/page137.html b/RESURGENCE/page137.html new file mode 100644 index 0000000..00c218c --- /dev/null +++ b/RESURGENCE/page137.html @@ -0,0 +1,2 @@ + here is your fate: +Princeton , NJ : Princeton University Press , 2015 . diff --git a/RESURGENCE/page138.html b/RESURGENCE/page138.html new file mode 100644 index 0000000..ce14b02 --- /dev/null +++ b/RESURGENCE/page138.html @@ -0,0 +1,2 @@ + here is your fate: +6 . diff --git a/RESURGENCE/page139.html b/RESURGENCE/page139.html new file mode 100644 index 0000000..5eb1db4 --- /dev/null +++ b/RESURGENCE/page139.html @@ -0,0 +1,2 @@ + here is your fate: +Starhawk . diff --git a/RESURGENCE/page14.html b/RESURGENCE/page14.html new file mode 100644 index 0000000..04b4c57 --- /dev/null +++ b/RESURGENCE/page14.html @@ -0,0 +1,2 @@ + here is your fate: +In one way or another , these victims deserved their fate , or this fate was the price to be unhappily paid for progress . diff --git a/RESURGENCE/page140.html b/RESURGENCE/page140.html new file mode 100644 index 0000000..af8f055 --- /dev/null +++ b/RESURGENCE/page140.html @@ -0,0 +1,2 @@ + here is your fate: +[ i]Dreaming the Dark : Magic , Sex , and Politics[i ] . diff --git a/RESURGENCE/page141.html b/RESURGENCE/page141.html new file mode 100644 index 0000000..ee4d29f --- /dev/null +++ b/RESURGENCE/page141.html @@ -0,0 +1,2 @@ + here is your fate: +Boston , MA : Beacon Press , 1997 . diff --git a/RESURGENCE/page142.html b/RESURGENCE/page142.html new file mode 100644 index 0000000..d9e5bd0 --- /dev/null +++ b/RESURGENCE/page142.html @@ -0,0 +1,2 @@ + here is your fate: +225 . diff --git a/RESURGENCE/page143.html b/RESURGENCE/page143.html new file mode 100644 index 0000000..f13b903 --- /dev/null +++ b/RESURGENCE/page143.html @@ -0,0 +1,2 @@ + here is your fate: +7 . diff --git a/RESURGENCE/page144.html b/RESURGENCE/page144.html new file mode 100644 index 0000000..05f5657 --- /dev/null +++ b/RESURGENCE/page144.html @@ -0,0 +1,2 @@ + here is your fate: +“ It Takes Roots – An Alliance of Alliances . diff --git a/RESURGENCE/page145.html b/RESURGENCE/page145.html new file mode 100644 index 0000000..3e5e4fb --- /dev/null +++ b/RESURGENCE/page145.html @@ -0,0 +1,2 @@ + here is your fate: +" It Takes Roots . diff --git a/RESURGENCE/page146.html b/RESURGENCE/page146.html new file mode 100644 index 0000000..d17e922 --- /dev/null +++ b/RESURGENCE/page146.html @@ -0,0 +1,2 @@ + here is your fate: +http://ittakesroots.org/ . diff --git a/RESURGENCE/page147.html b/RESURGENCE/page147.html new file mode 100644 index 0000000..406f634 --- /dev/null +++ b/RESURGENCE/page147.html @@ -0,0 +1,2 @@ + here is your fate: +8 . diff --git a/RESURGENCE/page148.html b/RESURGENCE/page148.html new file mode 100644 index 0000000..5f5a7cc --- /dev/null +++ b/RESURGENCE/page148.html @@ -0,0 +1,2 @@ + here is your fate: +Bollier , David . diff --git a/RESURGENCE/page149.html b/RESURGENCE/page149.html new file mode 100644 index 0000000..35f4998 --- /dev/null +++ b/RESURGENCE/page149.html @@ -0,0 +1,2 @@ + here is your fate: +[ i]Think like a Commoner : A Short Introduction to the Life of the Commons[i ] . diff --git a/RESURGENCE/page15.html b/RESURGENCE/page15.html new file mode 100644 index 0000000..829bff7 --- /dev/null +++ b/RESURGENCE/page15.html @@ -0,0 +1,2 @@ + here is your fate: +“ Creative destructions , ” economists croon . diff --git a/RESURGENCE/page150.html b/RESURGENCE/page150.html new file mode 100644 index 0000000..316b91b --- /dev/null +++ b/RESURGENCE/page150.html @@ -0,0 +1,2 @@ + here is your fate: +Gabriola Island , BC , Canada : New Society Publishers , 2014 . diff --git a/RESURGENCE/page151.html b/RESURGENCE/page151.html new file mode 100644 index 0000000..3ec11de --- /dev/null +++ b/RESURGENCE/page151.html @@ -0,0 +1,2 @@ + here is your fate: +9 . diff --git a/RESURGENCE/page152.html b/RESURGENCE/page152.html new file mode 100644 index 0000000..dc73066 --- /dev/null +++ b/RESURGENCE/page152.html @@ -0,0 +1,2 @@ + here is your fate: +William , James . diff --git a/RESURGENCE/page153.html b/RESURGENCE/page153.html new file mode 100644 index 0000000..f1175dd --- /dev/null +++ b/RESURGENCE/page153.html @@ -0,0 +1,2 @@ + here is your fate: +[ i]Pragmatism : A New Name for Some Old Ways of Thinking[i ] . diff --git a/RESURGENCE/page154.html b/RESURGENCE/page154.html new file mode 100644 index 0000000..ad9b2d5 --- /dev/null +++ b/RESURGENCE/page154.html @@ -0,0 +1,2 @@ + here is your fate: +New York , NY : Longman Green and Co . diff --git a/RESURGENCE/page155.html b/RESURGENCE/page155.html new file mode 100644 index 0000000..218a94f --- /dev/null +++ b/RESURGENCE/page155.html @@ -0,0 +1,2 @@ + here is your fate: +, 1907 . diff --git a/RESURGENCE/page156.html b/RESURGENCE/page156.html new file mode 100644 index 0000000..5fe4a93 --- /dev/null +++ b/RESURGENCE/page156.html @@ -0,0 +1,2 @@ + here is your fate: +98 . diff --git a/RESURGENCE/page16.html b/RESURGENCE/page16.html new file mode 100644 index 0000000..00a5a26 --- /dev/null +++ b/RESURGENCE/page16.html @@ -0,0 +1,2 @@ + here is your fate: +What we have now discovered is that these destructions come with cascading and interconnecting consequences . diff --git a/RESURGENCE/page17.html b/RESURGENCE/page17.html new file mode 100644 index 0000000..99055b5 --- /dev/null +++ b/RESURGENCE/page17.html @@ -0,0 +1,2 @@ + here is your fate: +Worlds are destroyed and no such destruction is ever deserved . diff --git a/RESURGENCE/page18.html b/RESURGENCE/page18.html new file mode 100644 index 0000000..2758b22 --- /dev/null +++ b/RESURGENCE/page18.html @@ -0,0 +1,2 @@ + here is your fate: +This is why I will address the academic world , which , in turns , is facing its own destruction . diff --git a/RESURGENCE/page19.html b/RESURGENCE/page19.html new file mode 100644 index 0000000..a1237f3 --- /dev/null +++ b/RESURGENCE/page19.html @@ -0,0 +1,2 @@ + here is your fate: +Probably , because it is the one I know best , also because of its specific responsibility in the formation of the generations which will have to make their way in the future . diff --git a/RESURGENCE/page2.html b/RESURGENCE/page2.html new file mode 100644 index 0000000..4999f89 --- /dev/null +++ b/RESURGENCE/page2.html @@ -0,0 +1,2 @@ + here is your fate: +I will take this motto , which has flourished in recent protests in the United States , as the defiant cry of resurgence – refusing to define the past as dead and buried . diff --git a/RESURGENCE/page20.html b/RESURGENCE/page20.html new file mode 100644 index 0000000..5925c62 --- /dev/null +++ b/RESURGENCE/page20.html @@ -0,0 +1,2 @@ + here is your fate: +Resurgence often refers to the reappearance of something defined as deleterious – e.g. an agricultural pest or an epidemic vector – after a seemingly successful operation of eradication . diff --git a/RESURGENCE/page21.html b/RESURGENCE/page21.html new file mode 100644 index 0000000..c65d4b8 --- /dev/null +++ b/RESURGENCE/page21.html @@ -0,0 +1,2 @@ + here is your fate: +It may also refer to the reworlding of a landscape after a natural catastrophe or a devastating industrial exploitation . diff --git a/RESURGENCE/page22.html b/RESURGENCE/page22.html new file mode 100644 index 0000000..d0b107e --- /dev/null +++ b/RESURGENCE/page22.html @@ -0,0 +1,2 @@ + here is your fate: +Today , such a reworlding is no longer understood by researchers in ecology in terms of the restoration of some stable equilibrium . diff --git a/RESURGENCE/page23.html b/RESURGENCE/page23.html new file mode 100644 index 0000000..9d855aa --- /dev/null +++ b/RESURGENCE/page23.html @@ -0,0 +1,2 @@ + here is your fate: +Ecology has succeeded in freeing itself from the association of what we call “ natural ” with an ordered reality verifying scientific generalization . diff --git a/RESURGENCE/page24.html b/RESURGENCE/page24.html new file mode 100644 index 0000000..857e480 --- /dev/null +++ b/RESURGENCE/page24.html @@ -0,0 +1,2 @@ + here is your fate: +In contrast , academic judgements entailing the idea of regression still imply what has been called “ The Ascent of Man : ” “ Man ” irrevocably turning his back on past attachments , beliefs , and scruples , affirming his destiny of emancipation from traditions and the order of nature . diff --git a/RESURGENCE/page25.html b/RESURGENCE/page25.html new file mode 100644 index 0000000..50f1ce0 --- /dev/null +++ b/RESURGENCE/page25.html @@ -0,0 +1,2 @@ + here is your fate: +Even critical humanities including feminist studies , whatever their deconstruction of the imperialist , sexist , and colonialist character of the “ Ascent of Man ” motto , still do not know how to disentangle themselves from the reference to a rational progress which opposes the possibility of taking seriously the contemporary resurgence of what does not conform to a materialist , that is , secularist , position . diff --git a/RESURGENCE/page26.html b/RESURGENCE/page26.html new file mode 100644 index 0000000..c0c8088 --- /dev/null +++ b/RESURGENCE/page26.html @@ -0,0 +1,2 @@ + here is your fate: +If resurgence is a word for the future , it is because we may use it in the way the granddaughters of the witches do : as a challenge to eradicative operations , with which what we call materialism and secularism are irreducibly associated , are still going on today . diff --git a/RESURGENCE/page27.html b/RESURGENCE/page27.html new file mode 100644 index 0000000..e0b4955 --- /dev/null +++ b/RESURGENCE/page27.html @@ -0,0 +1,2 @@ + here is your fate: +It is quite possible to inherit the struggle against the oppressive character of religious institutions without forgetting what came together with materialism and secularism ; the destruction of what opposed the transition to capitalism both in Europe and in the colonized world.[1 ] It is quite possible to resist the idea that what was destroyed is irrevocably lost and that we should have the courage to accept this loss . diff --git a/RESURGENCE/page28.html b/RESURGENCE/page28.html new file mode 100644 index 0000000..e6cc49e --- /dev/null +++ b/RESURGENCE/page28.html @@ -0,0 +1,2 @@ + here is your fate: +Certainly it cannot be a question of resurrecting the past . diff --git a/RESURGENCE/page29.html b/RESURGENCE/page29.html new file mode 100644 index 0000000..85e0998 --- /dev/null +++ b/RESURGENCE/page29.html @@ -0,0 +1,2 @@ + here is your fate: +What eventually returns is also reinventing itself as it takes root in a new environment , challenging the way it defined its destruction as a fait accompli . diff --git a/RESURGENCE/page3.html b/RESURGENCE/page3.html new file mode 100644 index 0000000..5767fec --- /dev/null +++ b/RESURGENCE/page3.html @@ -0,0 +1,2 @@ + here is your fate: +Not only were the witches killed all over Europe , but their memory has been buried by the many retrospective analyses which triumphantly concluded that their power and practices were a matter of imaginary collective construction affecting both the victims and the inquisitors . diff --git a/RESURGENCE/page30.html b/RESURGENCE/page30.html new file mode 100644 index 0000000..2aa2c18 --- /dev/null +++ b/RESURGENCE/page30.html @@ -0,0 +1,2 @@ + here is your fate: +In the academic environment , defining as a fait accompli the destruction of the witches might be the only true point of agreement uniting two antagonist powers : those who take as an “ objective fact ” that the magic they claimed to practice does not exist , and those who understand magic as a cultural-subjective construction belonging to the past . diff --git a/RESURGENCE/page31.html b/RESURGENCE/page31.html new file mode 100644 index 0000000..65d98cc --- /dev/null +++ b/RESURGENCE/page31.html @@ -0,0 +1,2 @@ + here is your fate: +[ b]Getting rid of the Objectivity – Subjectivity banners[b ] diff --git a/RESURGENCE/page32.html b/RESURGENCE/page32.html new file mode 100644 index 0000000..58cc5c2 --- /dev/null +++ b/RESURGENCE/page32.html @@ -0,0 +1,2 @@ + here is your fate: +In the academic world eradicative operations are a routine , performed as ‘ methodology ’ by researchers who see it as their duty to disentangle situations in order to define them . diff --git a/RESURGENCE/page33.html b/RESURGENCE/page33.html new file mode 100644 index 0000000..5a3534c --- /dev/null +++ b/RESURGENCE/page33.html @@ -0,0 +1,2 @@ + here is your fate: +Some will extract information about human practices only and give ( always subjective ) meaning to these situations . diff --git a/RESURGENCE/page34.html b/RESURGENCE/page34.html new file mode 100644 index 0000000..f808ea0 --- /dev/null +++ b/RESURGENCE/page34.html @@ -0,0 +1,2 @@ + here is your fate: +Others will only look at ‘ ( objective ) facts ’ , the value of which should be to hold independently of the way humans evaluate them . diff --git a/RESURGENCE/page35.html b/RESURGENCE/page35.html new file mode 100644 index 0000000..8913766 --- /dev/null +++ b/RESURGENCE/page35.html @@ -0,0 +1,2 @@ + here is your fate: +Doing so , these academics are not motivated by a quest for a relevant approach . diff --git a/RESURGENCE/page36.html b/RESURGENCE/page36.html new file mode 100644 index 0000000..4faa9e6 --- /dev/null +++ b/RESURGENCE/page36.html @@ -0,0 +1,2 @@ + here is your fate: +Instead they act as mobilized armies of either objectivity or subjectivity , destroying complex situations that might have slowed them down , and would have forced them to listen to voices protesting against the way their method leaves unattended knowledge that matters to others . diff --git a/RESURGENCE/page37.html b/RESURGENCE/page37.html new file mode 100644 index 0000000..f725b37 --- /dev/null +++ b/RESURGENCE/page37.html @@ -0,0 +1,2 @@ + here is your fate: +That objectivity is a mobilizing banner is easy to demonstrate . diff --git a/RESURGENCE/page38.html b/RESURGENCE/page38.html new file mode 100644 index 0000000..bb68f59 --- /dev/null +++ b/RESURGENCE/page38.html @@ -0,0 +1,2 @@ + here is your fate: +It would have no power if it were taken in the strict experimental sense , where it means the obtaining of an exceptional and fragile achievement . diff --git a/RESURGENCE/page39.html b/RESURGENCE/page39.html new file mode 100644 index 0000000..c4ec85b --- /dev/null +++ b/RESURGENCE/page39.html @@ -0,0 +1,2 @@ + here is your fate: +An experimental ‘ objective ’ fact is always extracted by active questioning . diff --git a/RESURGENCE/page4.html b/RESURGENCE/page4.html new file mode 100644 index 0000000..1f22982 --- /dev/null +++ b/RESURGENCE/page4.html @@ -0,0 +1,2 @@ + here is your fate: +Eco-feminists have proposed a very different understanding of the ‘ burning times . diff --git a/RESURGENCE/page40.html b/RESURGENCE/page40.html new file mode 100644 index 0000000..cac8ed7 --- /dev/null +++ b/RESURGENCE/page40.html @@ -0,0 +1,2 @@ + here is your fate: +However , achieving objectivity then implies the creation of a situation that gives ‘ the thing questioned ’ the very unusual power to authorize one interpretation that stands against any other possible one . diff --git a/RESURGENCE/page41.html b/RESURGENCE/page41.html new file mode 100644 index 0000000..277fd35 --- /dev/null +++ b/RESURGENCE/page41.html @@ -0,0 +1,2 @@ + here is your fate: +Experimental objectivity is thus the name of an event , not the outcome of a method . diff --git a/RESURGENCE/page42.html b/RESURGENCE/page42.html new file mode 100644 index 0000000..7b1d687 --- /dev/null +++ b/RESURGENCE/page42.html @@ -0,0 +1,2 @@ + here is your fate: +Further , it is fragile because it is lost as soon as the experimental facts leave the ‘ lab ’ – the techno-social rarefied milieu required by experimental achievements – and become ingredients in messy real world situations . diff --git a/RESURGENCE/page43.html b/RESURGENCE/page43.html new file mode 100644 index 0000000..d1b3577 --- /dev/null +++ b/RESURGENCE/page43.html @@ -0,0 +1,2 @@ + here is your fate: +When a claim of objectivity nevertheless sticks to those facts outside of the lab , it transforms this claim into a devastating operator . diff --git a/RESURGENCE/page44.html b/RESURGENCE/page44.html new file mode 100644 index 0000000..24be2fc --- /dev/null +++ b/RESURGENCE/page44.html @@ -0,0 +1,2 @@ + here is your fate: +As for the kind of objectivity claimed by the sheer extraction of “ data ” or by the unilateral imposition of a method , it is a mere banner for conquest . diff --git a/RESURGENCE/page45.html b/RESURGENCE/page45.html new file mode 100644 index 0000000..6f87bea --- /dev/null +++ b/RESURGENCE/page45.html @@ -0,0 +1,2 @@ + here is your fate: +On the other hand , holding the ground of subjectivity against the claims of objectivity , not so very often means empowering the muted voices that point to ignored or disqualified matters . diff --git a/RESURGENCE/page46.html b/RESURGENCE/page46.html new file mode 100644 index 0000000..b9d01c8 --- /dev/null +++ b/RESURGENCE/page46.html @@ -0,0 +1,2 @@ + here is your fate: +Scientists trying to resist the pseudo-facts that colonialize their fields , caring for a difference to be made between ‘ good ’ ( relevant ) and ‘ bad ’ ( abusive ) sciences , have found no allies in critical sciences.[2 ] For those who are mobilized under the banner of subjectivity such scruples are ludicrous . diff --git a/RESURGENCE/page47.html b/RESURGENCE/page47.html new file mode 100644 index 0000000..6fb2a78 --- /dev/null +++ b/RESURGENCE/page47.html @@ -0,0 +1,2 @@ + here is your fate: +Academic events such as theoretical turns or scientific revolutions – including the famous Anthropocene turn – won ’ t help to foster cooperative relations or care for collaborative situations . diff --git a/RESURGENCE/page48.html b/RESURGENCE/page48.html new file mode 100644 index 0000000..dec85c2 --- /dev/null +++ b/RESURGENCE/page48.html @@ -0,0 +1,2 @@ + here is your fate: +Indeed , such events typically signal an advance , usually the creative destruction of some dregs of common sense that are still contaminating what was previously accepted . diff --git a/RESURGENCE/page49.html b/RESURGENCE/page49.html new file mode 100644 index 0000000..7794dd6 --- /dev/null +++ b/RESURGENCE/page49.html @@ -0,0 +1,2 @@ + here is your fate: +In contrast , if there were to be resurgence it would signal itself by the ‘ demoralization ’ of the perspective of advance . diff --git a/RESURGENCE/page5.html b/RESURGENCE/page5.html new file mode 100644 index 0000000..2d902f8 --- /dev/null +++ b/RESURGENCE/page5.html @@ -0,0 +1,2 @@ + here is your fate: +’ They associate it with the destruction of rural cultures and their old rites , with the violent appropriation of the commons , with the rule of a law that consecrated the unquestionable rights of the owner , and with the invention of the modern workers who can only sell their labour-power on the market as a commodity . diff --git a/RESURGENCE/page50.html b/RESURGENCE/page50.html new file mode 100644 index 0000000..49329e4 --- /dev/null +++ b/RESURGENCE/page50.html @@ -0,0 +1,2 @@ + here is your fate: +Demoralization is not however about the sad recognition of a limit to the possibility of knowing . diff --git a/RESURGENCE/page51.html b/RESURGENCE/page51.html new file mode 100644 index 0000000..1917e7d --- /dev/null +++ b/RESURGENCE/page51.html @@ -0,0 +1,2 @@ + here is your fate: +It rather conveys the possibility of reducing the feeling of legitimacy that academic researchers have about their objectivity – subjectivity methodologies . diff --git a/RESURGENCE/page52.html b/RESURGENCE/page52.html new file mode 100644 index 0000000..6085494 --- /dev/null +++ b/RESURGENCE/page52.html @@ -0,0 +1,2 @@ + here is your fate: +The signal of a process of resurgence might be researchers deserting their position when they recognise that subjectivity and objectivity are banners only , imperatives to distance themselves from concerned voices , protesting against the dismemberment of what they care for . diff --git a/RESURGENCE/page53.html b/RESURGENCE/page53.html new file mode 100644 index 0000000..14d1f35 --- /dev/null +++ b/RESURGENCE/page53.html @@ -0,0 +1,2 @@ + here is your fate: +[ b]Making common sense[b ] Addressing situations that are a matter of usually diverging concerns in a way that resists dismembering them , means betraying the mobilization for the advance of knowledge . diff --git a/RESURGENCE/page54.html b/RESURGENCE/page54.html new file mode 100644 index 0000000..14a3ba6 --- /dev/null +++ b/RESURGENCE/page54.html @@ -0,0 +1,2 @@ + here is your fate: +The resurgence of cooperative and non-antagonist relations points towards situation-centred achievements . diff --git a/RESURGENCE/page55.html b/RESURGENCE/page55.html new file mode 100644 index 0000000..6e8adea --- /dev/null +++ b/RESURGENCE/page55.html @@ -0,0 +1,2 @@ + here is your fate: +It requires that the situation itself be given the power to make those concerned think together , that is to induce a laborious , hesitant , and sometimes conflictual collective learning process of what each particular situation demands from those who approach it . diff --git a/RESURGENCE/page56.html b/RESURGENCE/page56.html new file mode 100644 index 0000000..c1fd8cf --- /dev/null +++ b/RESURGENCE/page56.html @@ -0,0 +1,2 @@ + here is your fate: +This requirement is a practical one . diff --git a/RESURGENCE/page57.html b/RESURGENCE/page57.html new file mode 100644 index 0000000..377a3fc --- /dev/null +++ b/RESURGENCE/page57.html @@ -0,0 +1,2 @@ + here is your fate: +If the eradicative power of the objective/subjective disjunction is to collapse and give way to a collective process , we need to question many academic customs . diff --git a/RESURGENCE/page58.html b/RESURGENCE/page58.html new file mode 100644 index 0000000..7a51514 --- /dev/null +++ b/RESURGENCE/page58.html @@ -0,0 +1,2 @@ + here is your fate: +The ritual of presentations with PowerPoint authoritative bullet-point like arguments , for instance , perfectly illustrates the way situations are mobilized in a confrontational game , when truth is associated with the power of one position to defeat the others . diff --git a/RESURGENCE/page59.html b/RESURGENCE/page59.html new file mode 100644 index 0000000..2c92e7e --- /dev/null +++ b/RESURGENCE/page59.html @@ -0,0 +1,2 @@ + here is your fate: +In addition , we may need to find inspiration in ancient customs . diff --git a/RESURGENCE/page6.html b/RESURGENCE/page6.html new file mode 100644 index 0000000..ddbdc3d --- /dev/null +++ b/RESURGENCE/page6.html @@ -0,0 +1,2 @@ + here is your fate: +Listening to the defiant cry of the women who name themselves granddaughters of the past witches , I will go further . diff --git a/RESURGENCE/page60.html b/RESURGENCE/page60.html new file mode 100644 index 0000000..9396f56 --- /dev/null +++ b/RESURGENCE/page60.html @@ -0,0 +1,2 @@ + here is your fate: +New academic rituals may learn for instance from the way the traditional African palavers or the sweat lodge rituals in North American First Nations , these examples ward off one-way-truths and weaponized arguments . diff --git a/RESURGENCE/page61.html b/RESURGENCE/page61.html new file mode 100644 index 0000000..2f28b46 --- /dev/null +++ b/RESURGENCE/page61.html @@ -0,0 +1,2 @@ + here is your fate: +Today , many activist groups share with reclaiming contemporary witches the reinvention of the art of consensus-making deliberation ; giving the issue of deliberation the power to make common sense . diff --git a/RESURGENCE/page62.html b/RESURGENCE/page62.html new file mode 100644 index 0000000..b053c55 --- /dev/null +++ b/RESURGENCE/page62.html @@ -0,0 +1,2 @@ + here is your fate: +What they learn to artfully design are resurgent ways to take care of the truth , to protect it from power games and relate it to an agreement - generated by a very deliberative process - that no party may appropriate it . diff --git a/RESURGENCE/page63.html b/RESURGENCE/page63.html new file mode 100644 index 0000000..06734ca --- /dev/null +++ b/RESURGENCE/page63.html @@ -0,0 +1,2 @@ + here is your fate: +They experiment with practices that generate the capacity to think and feel together . diff --git a/RESURGENCE/page64.html b/RESURGENCE/page64.html new file mode 100644 index 0000000..a92b746 --- /dev/null +++ b/RESURGENCE/page64.html @@ -0,0 +1,2 @@ + here is your fate: +For the witches , convoking the goddess is giving room to the power of generativity . diff --git a/RESURGENCE/page65.html b/RESURGENCE/page65.html new file mode 100644 index 0000000..6affd14 --- /dev/null +++ b/RESURGENCE/page65.html @@ -0,0 +1,2 @@ + here is your fate: +When they chant “ She changes everything She touches , and everything She touches changes , ” they honour a change that affects everything , but to which each affected being responds in its own way and not through some conversion [ i]She[i ] would command . diff --git a/RESURGENCE/page66.html b/RESURGENCE/page66.html new file mode 100644 index 0000000..ab4a736 --- /dev/null +++ b/RESURGENCE/page66.html @@ -0,0 +1,2 @@ + here is your fate: +Of course , such arts presuppose a shared trust in the possibility of generativity and we are free to suspect some kind of participatory role-playing . diff --git a/RESURGENCE/page67.html b/RESURGENCE/page67.html new file mode 100644 index 0000000..4e528f1 --- /dev/null +++ b/RESURGENCE/page67.html @@ -0,0 +1,2 @@ + here is your fate: +But refusing to participate is also playing a role . diff --git a/RESURGENCE/page68.html b/RESURGENCE/page68.html new file mode 100644 index 0000000..9cf63da --- /dev/null +++ b/RESURGENCE/page68.html @@ -0,0 +1,2 @@ + here is your fate: +Holding to our own reasons demands that , when we feel we understand something about the other ’ s position , we suppress any temptation to doubt the kind of authority we confer to our reasons , as if such a hesitation was a betrayal of oneself . diff --git a/RESURGENCE/page69.html b/RESURGENCE/page69.html new file mode 100644 index 0000000..b132c99 --- /dev/null +++ b/RESURGENCE/page69.html @@ -0,0 +1,2 @@ + here is your fate: +What if the art of transformative encounters cultivated the slow emergence and intensification of a mutual sensitivity ? diff --git a/RESURGENCE/page7.html b/RESURGENCE/page7.html new file mode 100644 index 0000000..7177f45 --- /dev/null +++ b/RESURGENCE/page7.html @@ -0,0 +1,2 @@ + here is your fate: +I will honour the vision which , since the Reagan era , has sustained reclaiming witches such as Starhawk , who associate their activism with the memory of a past earth-based religion of the goddess - who now ‘ returns . diff --git a/RESURGENCE/page70.html b/RESURGENCE/page70.html new file mode 100644 index 0000000..c73a79f --- /dev/null +++ b/RESURGENCE/page70.html @@ -0,0 +1,2 @@ + here is your fate: +A mutual sensitivity that generates a change in the relationship that each entertains with their own reasons . diff --git a/RESURGENCE/page71.html b/RESURGENCE/page71.html new file mode 100644 index 0000000..6f5ac33 --- /dev/null +++ b/RESURGENCE/page71.html @@ -0,0 +1,2 @@ + here is your fate: +[ b]Polyphonic song[b ] diff --git a/RESURGENCE/page72.html b/RESURGENCE/page72.html new file mode 100644 index 0000000..5a57640 --- /dev/null +++ b/RESURGENCE/page72.html @@ -0,0 +1,2 @@ + here is your fate: +Curiously enough the resurgence of the arts of partnering around a situation , of composing and weaving together relevant but not authoritative reasons , echoes with the work of laboratory biologists . diff --git a/RESURGENCE/page73.html b/RESURGENCE/page73.html new file mode 100644 index 0000000..90b103f --- /dev/null +++ b/RESURGENCE/page73.html @@ -0,0 +1,2 @@ + here is your fate: +Against the biotechnological redefinition of biology they claim that the self-contained isolable organisms might be a dubious abstraction . diff --git a/RESURGENCE/page74.html b/RESURGENCE/page74.html new file mode 100644 index 0000000..4eb3480 --- /dev/null +++ b/RESURGENCE/page74.html @@ -0,0 +1,2 @@ + here is your fate: +What they study are not individual beings competing for having their interest prevail , but multiple specific assemblages between interdependent mutually sensitive partners weaving together capacities to make a living which belong to none of them separately . diff --git a/RESURGENCE/page75.html b/RESURGENCE/page75.html new file mode 100644 index 0000000..85db889 --- /dev/null +++ b/RESURGENCE/page75.html @@ -0,0 +1,2 @@ + here is your fate: +“ We have never been individuals ” write Scott Gilbert and his colleagues who are specialists in evolutionary developmental biology.[3 ] “ It is the song that matters , not the singer , ” adds Ford Doolittle , specialist in evolutionary microbiology , emphasizing the open character of assemblages , the composition of which ( the singers ) can change as long as the cooperative pattern , the polyphonic song , is preserved.[4 ] In other words , biologists now discover that both in the lab and in the field , they have to address cooperative worlds and beings whose ways of life emerge together with their participation in worlding compositions . diff --git a/RESURGENCE/page76.html b/RESURGENCE/page76.html new file mode 100644 index 0000000..ea777c2 --- /dev/null +++ b/RESURGENCE/page76.html @@ -0,0 +1,2 @@ + here is your fate: +One could be tempted to speak about a ‘ revolution ’ in biology , but it can also be said that it is a heresy , a challenge against the mobilizing creed in the advance of science . diff --git a/RESURGENCE/page77.html b/RESURGENCE/page77.html new file mode 100644 index 0000000..bbd8053 --- /dev/null +++ b/RESURGENCE/page77.html @@ -0,0 +1,2 @@ + here is your fate: +Undoubtedly , biology is becoming more interesting , but it is losing its power to define a conquering research direction , since each “ song ” ; each assemblage , needs to be deciphered as such . diff --git a/RESURGENCE/page78.html b/RESURGENCE/page78.html new file mode 100644 index 0000000..c4fbfab --- /dev/null +++ b/RESURGENCE/page78.html @@ -0,0 +1,2 @@ + here is your fate: +If modes of interdependence are what matters , extraction and isolation are no longer the royal road for progress . diff --git a/RESURGENCE/page79.html b/RESURGENCE/page79.html new file mode 100644 index 0000000..4f580ab --- /dev/null +++ b/RESURGENCE/page79.html @@ -0,0 +1,2 @@ + here is your fate: +No theory - including complex or systemic ones - can define [ i]a priori[i ] its rightful object , that is , anticipate the way a situation should be addressed . diff --git a/RESURGENCE/page8.html b/RESURGENCE/page8.html new file mode 100644 index 0000000..79358a2 --- /dev/null +++ b/RESURGENCE/page8.html @@ -0,0 +1,2 @@ + here is your fate: +’ Against the ongoing academic critical judgement , I claim that the witches ’ resurgence , their chant about the goddess ’ return , and inseparably their return to the goddess , should not be taken as a ‘ regression . diff --git a/RESURGENCE/page80.html b/RESURGENCE/page80.html new file mode 100644 index 0000000..5a70468 --- /dev/null +++ b/RESURGENCE/page80.html @@ -0,0 +1,2 @@ + here is your fate: +This “ heretical ” biology is apt to become an ally in the resurgence of cooperative relations between positive sciences and humanities at a time when we vitally need ‘ demobilization , ’ relinquishing banners which justified our business-as-usual academic routines . diff --git a/RESURGENCE/page81.html b/RESURGENCE/page81.html new file mode 100644 index 0000000..a46bafc --- /dev/null +++ b/RESURGENCE/page81.html @@ -0,0 +1,2 @@ + here is your fate: +I will borrow Anna Tsing ’ s challenging proposition , that our future might be about learning to live in “ capitalist ruins . diff --git a/RESURGENCE/page82.html b/RESURGENCE/page82.html new file mode 100644 index 0000000..46852d1 --- /dev/null +++ b/RESURGENCE/page82.html @@ -0,0 +1,2 @@ + here is your fate: +” [ 5 ] That is , in the ruins of the socio-technical organizational infrastructures that ensured our business-as-usual life . diff --git a/RESURGENCE/page83.html b/RESURGENCE/page83.html new file mode 100644 index 0000000..e3595c0 --- /dev/null +++ b/RESURGENCE/page83.html @@ -0,0 +1,2 @@ + here is your fate: +Ruins may be horrific , but Tsing recognises ruins also as a place for the resurgence and cultivation of an art of paying attention , which she calls the “ art of noticing . diff --git a/RESURGENCE/page84.html b/RESURGENCE/page84.html new file mode 100644 index 0000000..064212b --- /dev/null +++ b/RESURGENCE/page84.html @@ -0,0 +1,2 @@ + here is your fate: +” Indeed ruins are places where vigilance is required , where the relevance of our reasons is always at risk , where trusting the abstractions we entertain is inviting disaster . diff --git a/RESURGENCE/page85.html b/RESURGENCE/page85.html new file mode 100644 index 0000000..14b8ca7 --- /dev/null +++ b/RESURGENCE/page85.html @@ -0,0 +1,2 @@ + here is your fate: +Ruins demand consenting to the precariousness of perspectives taken for granted , that ‘ stable ’ capitalist infrastructures allowed us , or more precisely , allowed some of us . diff --git a/RESURGENCE/page86.html b/RESURGENCE/page86.html new file mode 100644 index 0000000..43228fb --- /dev/null +++ b/RESURGENCE/page86.html @@ -0,0 +1,2 @@ + here is your fate: +Tsing follows the wild Matsutake mushroom that thrives in ruined forests - forests ruined by natural catastrophes or by blind extraction , but also by projects meant to ensure a ‘ rational and sustainable ’ exploitation , that discovered too late that what they had eliminated as prejudicial or expendable [ I]did matter[I ] . diff --git a/RESURGENCE/page87.html b/RESURGENCE/page87.html new file mode 100644 index 0000000..9f35bab --- /dev/null +++ b/RESURGENCE/page87.html @@ -0,0 +1,2 @@ + here is your fate: +Devastation , the unravelling of the weaving that enables life , does not need to be willful , deliberate – blindly trusting an idea may be sufficient . diff --git a/RESURGENCE/page88.html b/RESURGENCE/page88.html new file mode 100644 index 0000000..898c7dd --- /dev/null +++ b/RESURGENCE/page88.html @@ -0,0 +1,2 @@ + here is your fate: +As for Tsing , she is not relying on overbearing ideas . diff --git a/RESURGENCE/page89.html b/RESURGENCE/page89.html new file mode 100644 index 0000000..597a2ff --- /dev/null +++ b/RESURGENCE/page89.html @@ -0,0 +1,2 @@ + here is your fate: +What she notices is factual but does not allow to abstract what would objectively matter from situational entanglements , in this case articulated by the highly sought mushroom and its [ i]symbionts[i ] including humans . diff --git a/RESURGENCE/page9.html b/RESURGENCE/page9.html new file mode 100644 index 0000000..5d4f200 --- /dev/null +++ b/RESURGENCE/page9.html @@ -0,0 +1,2 @@ + here is your fate: +’ diff --git a/RESURGENCE/page90.html b/RESURGENCE/page90.html new file mode 100644 index 0000000..c41f3b7 --- /dev/null +++ b/RESURGENCE/page90.html @@ -0,0 +1,2 @@ + here is your fate: +Facts , here , are not stepping stones for a conquering knowledge and do not oppose objectivity to subjectivity . diff --git a/RESURGENCE/page91.html b/RESURGENCE/page91.html new file mode 100644 index 0000000..f03d598 --- /dev/null +++ b/RESURGENCE/page91.html @@ -0,0 +1,2 @@ + here is your fate: +What is noticed is first of all what appears as interesting or intriguing . diff --git a/RESURGENCE/page92.html b/RESURGENCE/page92.html new file mode 100644 index 0000000..04d353b --- /dev/null +++ b/RESURGENCE/page92.html @@ -0,0 +1,2 @@ + here is your fate: +It may be enlightening but the light is not defining the situation , it rather generates new possible ways of learning , of weaving new relations with the situation . diff --git a/RESURGENCE/page93.html b/RESURGENCE/page93.html new file mode 100644 index 0000000..767c8b5 --- /dev/null +++ b/RESURGENCE/page93.html @@ -0,0 +1,2 @@ + here is your fate: +[ b]We are the weavers and we are the woven[b ] diff --git a/RESURGENCE/page94.html b/RESURGENCE/page94.html new file mode 100644 index 0000000..6ba8d73 --- /dev/null +++ b/RESURGENCE/page94.html @@ -0,0 +1,2 @@ + here is your fate: +If our future is in the ruins , the possibility of resurgence is the possibility of cultivating , of weaving again what has been unravelled in the name of “ the Ascent of Man . diff --git a/RESURGENCE/page95.html b/RESURGENCE/page95.html new file mode 100644 index 0000000..149ecea --- /dev/null +++ b/RESURGENCE/page95.html @@ -0,0 +1,2 @@ + here is your fate: +” We are not to take ourselves for the weavers after having played the masters , or the assemblers after having glorified extraction . diff --git a/RESURGENCE/page96.html b/RESURGENCE/page96.html new file mode 100644 index 0000000..7109f3c --- /dev/null +++ b/RESURGENCE/page96.html @@ -0,0 +1,2 @@ + here is your fate: +“ We are the weavers and we are the web , ” sing the contemporary witches who know and cultivate generativity.[6 ] The arts of cultivation are arts of interdependence , of consenting to the precariousness of lives involved in each other . diff --git a/RESURGENCE/page97.html b/RESURGENCE/page97.html new file mode 100644 index 0000000..7354330 --- /dev/null +++ b/RESURGENCE/page97.html @@ -0,0 +1,2 @@ + here is your fate: +Those who cultivate do their part , trusting that others may do their own but knowing that what they aim at depends on what cannot be commanded or explained . diff --git a/RESURGENCE/page98.html b/RESURGENCE/page98.html new file mode 100644 index 0000000..705a7b6 --- /dev/null +++ b/RESURGENCE/page98.html @@ -0,0 +1,2 @@ + here is your fate: +Those who claim to explain growth or weaving are often only telling about the preparations required by what they have learned to foster , or they depend on the selection of what can be obtained and mobilized ‘ off-ground ’ in rarefied , reproducible environments . diff --git a/RESURGENCE/page99.html b/RESURGENCE/page99.html new file mode 100644 index 0000000..2105b88 --- /dev/null +++ b/RESURGENCE/page99.html @@ -0,0 +1,2 @@ + here is your fate: +In the ruins of such environments , resurgence is not a return to the past , rather the challenge to learn again what we were made to forget – but what some have refused to forget . diff --git a/RESURGENCE/pattern-search.ipynb b/RESURGENCE/pattern-search.ipynb new file mode 100644 index 0000000..f86664d --- /dev/null +++ b/RESURGENCE/pattern-search.ipynb @@ -0,0 +1,1229 @@ +{ + "cells": [ + { + "cell_type": "code", + "execution_count": 2, + "metadata": {}, + "outputs": [], + "source": [ + "from pattern.search import STRICT, search\n", + "from pattern.en import parsetree" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "https://github.com/clips/pattern/wiki/pattern-search\n", + "( inspired by [videogrep](https://github.com/antiboredom/videogrep/blob/master/videogrep/searcher.py) search )" + ] + }, + { + "cell_type": "code", + "execution_count": 3, + "metadata": {}, + "outputs": [], + "source": [ + "text = open(\"RESURGENCE.txt\").read()" + ] + }, + { + "cell_type": "code", + "execution_count": 4, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "'RESURGENCE | Isabelle Stengers \\n\\n“We are the grandchildren of the witches you were not able to burn”'" + ] + }, + "execution_count": 4, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "text[:100]" + ] + }, + { + "cell_type": "code", + "execution_count": 5, + "metadata": {}, + "outputs": [], + "source": [ + "tree = parsetree(text)" + ] + }, + { + "cell_type": "code", + "execution_count": 80, + "metadata": { + "scrolled": true + }, + "outputs": [], + "source": [ + "n = 0\n", + "actions = []\n", + "\n", + "for s in tree:\n", + " f = open(f\"page{n}.html\",\"w\")\n", + " print(\"\"\"\"\"\",\"here is your fate:\",file = f)\n", + " print(s, file = f)\n", + " print(actions[1],file = f)\n", + " f.close()\n", + " n = n + 1\n", + " " + ] + }, + { + "cell_type": "code", + "execution_count": 81, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "Sentence(\"I/PRP/B-NP/O will/MD/B-VP/O honour/NN/B-NP/O the/DT/I-NP/O vision/NN/I-NP/O which/WDT/O/O ,/,/O/O since/IN/B-PP/B-PNP the/DT/B-NP/I-PNP Reagan/NNP/I-NP/I-PNP era/NN/I-NP/I-PNP ,/,/O/O has/VBZ/B-VP/O sustained/VBN/I-VP/O reclaiming/VBG/I-VP/O witches/NNS/B-NP/O such/JJ/B-ADJP/O as/IN/B-PP/B-PNP Starhawk/NNP/B-NP/I-PNP ,/,/O/O who/WP/O/O associate/VBP/B-VP/O their/PRP$/B-NP/O activism/NN/I-NP/O with/IN/B-PP/B-PNP the/DT/B-NP/I-PNP memory/NN/I-NP/I-PNP of/IN/B-PP/B-PNP a/DT/B-NP/I-PNP past/NN/I-NP/I-PNP earth-based/JJ/B-NP/I-PNP religion/NN/I-NP/I-PNP of/IN/B-PP/B-PNP the/DT/B-NP/I-PNP goddess/NN/I-NP/I-PNP -/:/O/O who/WP/O/O now/RB/B-ADVP/O ‘/''/O/O returns/NNS/B-NP/O ././O/O\")" + ] + }, + "execution_count": 81, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "tree[7]" + ] + }, + { + "cell_type": "code", + "execution_count": 82, + "metadata": { + "scrolled": true + }, + "outputs": [ + { + "data": { + "text/plain": [ + "[Match(words=[Word('able/JJ')]),\n", + " Match(words=[Word('recent/JJ')]),\n", + " Match(words=[Word('defiant/JJ')]),\n", + " Match(words=[Word('past/JJ')]),\n", + " Match(words=[Word('dead/JJ')]),\n", + " Match(words=[Word('many/JJ')]),\n", + " Match(words=[Word('imaginary/JJ')]),\n", + " Match(words=[Word('collective/JJ')]),\n", + " Match(words=[Word('different/JJ')]),\n", + " Match(words=[Word('burning/JJ')]),\n", + " Match(words=[Word('rural/JJ')]),\n", + " Match(words=[Word('old/JJ')]),\n", + " Match(words=[Word('violent/JJ')]),\n", + " Match(words=[Word('unquestionable/JJ')]),\n", + " Match(words=[Word('modern/JJ')]),\n", + " Match(words=[Word('defiant/JJ')]),\n", + " Match(words=[Word('past/JJ')]),\n", + " Match(words=[Word('such/JJ')]),\n", + " Match(words=[Word('earth-based/JJ')]),\n", + " Match(words=[Word('ongoing/JJ')]),\n", + " Match(words=[Word('academic/JJ')]),\n", + " Match(words=[Word('critical/JJ')]),\n", + " Match(words=[Word('academic/JJ')]),\n", + " Match(words=[Word('futile/JJ')]),\n", + " Match(words=[Word('few/JJ')]),\n", + " Match(words=[Word('regressive/JJ')]),\n", + " Match(words=[Word('busy/JJ')]),\n", + " Match(words=[Word('relentless/JJ')]),\n", + " Match(words=[Word('neoliberal/JJ')]),\n", + " Match(words=[Word('past/JJ')]),\n", + " Match(words=[Word('eradicative/JJ')]),\n", + " Match(words=[Word('futile/JJ')]),\n", + " Match(words=[Word('Creative/JJ')]),\n", + " Match(words=[Word('interconnecting/JJ')]),\n", + " Match(words=[Word('such/JJ')]),\n", + " Match(words=[Word('academic/JJ')]),\n", + " Match(words=[Word('own/JJ')]),\n", + " Match(words=[Word('specific/JJ')]),\n", + " Match(words=[Word('deleterious/JJ')]),\n", + " Match(words=[Word('agricultural/JJ')]),\n", + " Match(words=[Word('successful/JJ')]),\n", + " Match(words=[Word('natural/JJ')]),\n", + " Match(words=[Word('industrial/JJ')]),\n", + " Match(words=[Word('such/JJ')]),\n", + " Match(words=[Word('stable/JJ')]),\n", + " Match(words=[Word('natural/JJ')]),\n", + " Match(words=[Word('ordered/JJ')]),\n", + " Match(words=[Word('scientific/JJ')]),\n", + " Match(words=[Word('academic/JJ')]),\n", + " Match(words=[Word('past/JJ')]),\n", + " Match(words=[Word('critical/JJ')]),\n", + " Match(words=[Word('feminist/JJ')]),\n", + " Match(words=[Word('sexist/JJ')]),\n", + " Match(words=[Word('rational/JJ')]),\n", + " Match(words=[Word('contemporary/JJ')]),\n", + " Match(words=[Word('eradicative/JJ')]),\n", + " Match(words=[Word('possible/JJ')]),\n", + " Match(words=[Word('oppressive/JJ')]),\n", + " Match(words=[Word('religious/JJ')]),\n", + " Match(words=[Word('possible/JJ')]),\n", + " Match(words=[Word('past/JJ')]),\n", + " Match(words=[Word('new/JJ')]),\n", + " Match(words=[Word('academic/JJ')]),\n", + " Match(words=[Word('only/JJ')]),\n", + " Match(words=[Word('true/JJ')]),\n", + " Match(words=[Word('objective/JJ')]),\n", + " Match(words=[Word('past/JJ')]),\n", + " Match(words=[Word('rid/JJ')]),\n", + " Match(words=[Word('academic/JJ')]),\n", + " Match(words=[Word('eradicative/JJ')]),\n", + " Match(words=[Word('human/JJ')]),\n", + " Match(words=[Word('give/JJ')]),\n", + " Match(words=[Word('subjective/JJ')]),\n", + " Match(words=[Word('objective/JJ')]),\n", + " Match(words=[Word('relevant/JJ')]),\n", + " Match(words=[Word('mobilized/JJ')]),\n", + " Match(words=[Word('complex/JJ')]),\n", + " Match(words=[Word('unattended/JJ')]),\n", + " Match(words=[Word('easy/JJ')]),\n", + " Match(words=[Word('strict/JJ')]),\n", + " Match(words=[Word('experimental/JJ')]),\n", + " Match(words=[Word('exceptional/JJ')]),\n", + " Match(words=[Word('fragile/JJ')]),\n", + " Match(words=[Word('experimental/JJ')]),\n", + " Match(words=[Word('active/JJ')]),\n", + " Match(words=[Word('unusual/JJ')]),\n", + " Match(words=[Word('other/JJ')]),\n", + " Match(words=[Word('possible/JJ')]),\n", + " Match(words=[Word('Experimental/JJ')]),\n", + " Match(words=[Word('fragile/JJ')]),\n", + " Match(words=[Word('experimental/JJ')]),\n", + " Match(words=[Word('experimental/JJ')]),\n", + " Match(words=[Word('become/JJ')]),\n", + " Match(words=[Word('messy/JJ')]),\n", + " Match(words=[Word('real/JJ')]),\n", + " Match(words=[Word('devastating/JJ')]),\n", + " Match(words=[Word('unilateral/JJ')]),\n", + " Match(words=[Word('mere/JJ')]),\n", + " Match(words=[Word('other/JJ')]),\n", + " Match(words=[Word('muted/JJ')]),\n", + " Match(words=[Word('good/JJ')]),\n", + " Match(words=[Word('relevant/JJ')]),\n", + " Match(words=[Word('bad/JJ')]),\n", + " Match(words=[Word('abusive/JJ')]),\n", + " Match(words=[Word('critical/JJ')]),\n", + " Match(words=[Word('such/JJ')]),\n", + " Match(words=[Word('ludicrous/JJ')]),\n", + " Match(words=[Word('such/JJ')]),\n", + " Match(words=[Word('theoretical/JJ')]),\n", + " Match(words=[Word('scientific/JJ')]),\n", + " Match(words=[Word('famous/JJ')]),\n", + " Match(words=[Word('cooperative/JJ')]),\n", + " Match(words=[Word('collaborative/JJ')]),\n", + " Match(words=[Word('such/JJ')]),\n", + " Match(words=[Word('creative/JJ')]),\n", + " Match(words=[Word('common/JJ')]),\n", + " Match(words=[Word('sad/JJ')]),\n", + " Match(words=[Word('academic/JJ')]),\n", + " Match(words=[Word('concerned/JJ')]),\n", + " Match(words=[Word('common/JJ')]),\n", + " Match(words=[Word('cooperative/JJ')]),\n", + " Match(words=[Word('non-antagonist/JJ')]),\n", + " Match(words=[Word('concerned/JJ')]),\n", + " Match(words=[Word('laborious/JJ')]),\n", + " Match(words=[Word('hesitant/JJ')]),\n", + " Match(words=[Word('conflictual/JJ')]),\n", + " Match(words=[Word('collective/JJ')]),\n", + " Match(words=[Word('particular/JJ')]),\n", + " Match(words=[Word('practical/JJ')]),\n", + " Match(words=[Word('eradicative/JJ')]),\n", + " Match(words=[Word('give/JJ')]),\n", + " Match(words=[Word('collective/JJ')]),\n", + " Match(words=[Word('many/JJ')]),\n", + " Match(words=[Word('academic/JJ')]),\n", + " Match(words=[Word('PowerPoint/JJ')]),\n", + " Match(words=[Word('authoritative/JJ')]),\n", + " Match(words=[Word('confrontational/JJ')]),\n", + " Match(words=[Word('ancient/JJ')]),\n", + " Match(words=[Word('academic/JJ')]),\n", + " Match(words=[Word('traditional/JJ')]),\n", + " Match(words=[Word('many/JJ')]),\n", + " Match(words=[Word('activist/JJ')]),\n", + " Match(words=[Word('contemporary/JJ')]),\n", + " Match(words=[Word('common/JJ')]),\n", + " Match(words=[Word('design/JJ')]),\n", + " Match(words=[Word('resurgent/JJ')]),\n", + " Match(words=[Word('deliberative/JJ')]),\n", + " Match(words=[Word('appropriate/JJ')]),\n", + " Match(words=[Word('own/JJ')]),\n", + " Match(words=[Word('such/JJ')]),\n", + " Match(words=[Word('shared/JJ')]),\n", + " Match(words=[Word('free/JJ')]),\n", + " Match(words=[Word('participatory/JJ')]),\n", + " Match(words=[Word('own/JJ')]),\n", + " Match(words=[Word('other/JJ')]),\n", + " Match(words=[Word('s/JJ')]),\n", + " Match(words=[Word('transformative/JJ')]),\n", + " Match(words=[Word('slow/JJ')]),\n", + " Match(words=[Word('mutual/JJ')]),\n", + " Match(words=[Word('mutual/JJ')]),\n", + " Match(words=[Word('own/JJ')]),\n", + " Match(words=[Word('b]Polyphonic/JJ')]),\n", + " Match(words=[Word('relevant/JJ')]),\n", + " Match(words=[Word('authoritative/JJ')]),\n", + " Match(words=[Word('biotechnological/JJ')]),\n", + " Match(words=[Word('self-contained/JJ')]),\n", + " Match(words=[Word('isolable/JJ')]),\n", + " Match(words=[Word('dubious/JJ')]),\n", + " Match(words=[Word('individual/JJ')]),\n", + " Match(words=[Word('multiple/JJ')]),\n", + " Match(words=[Word('specific/JJ')]),\n", + " Match(words=[Word('interdependent/JJ')]),\n", + " Match(words=[Word('sensitive/JJ')]),\n", + " Match(words=[Word('belong/JJ')]),\n", + " Match(words=[Word('evolutionary/JJ')]),\n", + " Match(words=[Word('developmental/JJ')]),\n", + " Match(words=[Word('evolutionary/JJ')]),\n", + " Match(words=[Word('open/JJ')]),\n", + " Match(words=[Word('cooperative/JJ')]),\n", + " Match(words=[Word('polyphonic/JJ')]),\n", + " Match(words=[Word('preserved.[4/JJ')]),\n", + " Match(words=[Word('other/JJ')]),\n", + " Match(words=[Word('cooperative/JJ')]),\n", + " Match(words=[Word('worlding/JJ')]),\n", + " Match(words=[Word('interesting/JJ')]),\n", + " Match(words=[Word('such/JJ')]),\n", + " Match(words=[Word('royal/JJ')]),\n", + " Match(words=[Word('complex/JJ')]),\n", + " Match(words=[Word('systemic/JJ')]),\n", + " Match(words=[Word('rightful/JJ')]),\n", + " Match(words=[Word('heretical/JJ')]),\n", + " Match(words=[Word('apt/JJ')]),\n", + " Match(words=[Word('cooperative/JJ')]),\n", + " Match(words=[Word('positive/JJ')]),\n", + " Match(words=[Word('business-as-usual/JJ')]),\n", + " Match(words=[Word('academic/JJ')]),\n", + " Match(words=[Word('capitalist/JJ')]),\n", + " Match(words=[Word('socio-technical/JJ')]),\n", + " Match(words=[Word('organizational/JJ')]),\n", + " Match(words=[Word('business-as-usual/JJ')]),\n", + " Match(words=[Word('horrific/JJ')]),\n", + " Match(words=[Word('trusting/JJ')]),\n", + " Match(words=[Word('capitalist/JJ')]),\n", + " Match(words=[Word('wild/JJ')]),\n", + " Match(words=[Word('natural/JJ')]),\n", + " Match(words=[Word('blind/JJ')]),\n", + " Match(words=[Word('rational/JJ')]),\n", + " Match(words=[Word('sustainable/JJ')]),\n", + " Match(words=[Word('prejudicial/JJ')]),\n", + " Match(words=[Word('expendable/JJ')]),\n", + " Match(words=[Word('willful/JJ')]),\n", + " Match(words=[Word('trusting/JJ')]),\n", + " Match(words=[Word('sufficient/JJ')]),\n", + " Match(words=[Word('overbearing/JJ')]),\n", + " Match(words=[Word('factual/JJ')]),\n", + " Match(words=[Word('abstract/JJ')]),\n", + " Match(words=[Word('situational/JJ')]),\n", + " Match(words=[Word('oppose/JJ')]),\n", + " Match(words=[Word('first/JJ')]),\n", + " Match(words=[Word('interesting/JJ')]),\n", + " Match(words=[Word('intriguing/JJ')]),\n", + " Match(words=[Word('enlightening/JJ')]),\n", + " Match(words=[Word('new/JJ')]),\n", + " Match(words=[Word('possible/JJ')]),\n", + " Match(words=[Word('new/JJ')]),\n", + " Match(words=[Word('contemporary/JJ')]),\n", + " Match(words=[Word('other/JJ')]),\n", + " Match(words=[Word('trusting/JJ')]),\n", + " Match(words=[Word('own/JJ')]),\n", + " Match(words=[Word('reproducible/JJ')]),\n", + " Match(words=[Word('such/JJ')]),\n", + " Match(words=[Word('past/JJ')]),\n", + " Match(words=[Word('challenge/JJ')]),\n", + " Match(words=[Word('environmental/JJ')]),\n", + " Match(words=[Word('social/JJ')]),\n", + " Match(words=[Word('multiracial/JJ')]),\n", + " Match(words=[Word('oppressed/JJ')]),\n", + " Match(words=[Word('ancient/JJ')]),\n", + " Match(words=[Word('ongoing/JJ')]),\n", + " Match(words=[Word('future/JJ')]),\n", + " Match(words=[Word('genuine/JJ')]),\n", + " Match(words=[Word('Daring/JJ')]),\n", + " Match(words=[Word('do/JJ')]),\n", + " Match(words=[Word('uncertified/JJ')]),\n", + " Match(words=[Word('improbable/JJ')]),\n", + " Match(words=[Word('speculative/JJ')]),\n", + " Match(words=[Word('future/JJ')]),\n", + " Match(words=[Word('ludicrous/JJ')]),\n", + " Match(words=[Word('free/JJ')]),\n", + " Match(words=[Word('alternative/JJ')]),\n", + " Match(words=[Word('condescending/JJ')]),\n", + " Match(words=[Word('equivalent/JJ')]),\n", + " Match(words=[Word('privileged/JJ')]),\n", + " Match(words=[Word('involved/JJ')]),\n", + " Match(words=[Word('interdependent/JJ')]),\n", + " Match(words=[Word('always-situated/JJ')]),\n", + " Match(words=[Word('generative/JJ')]),\n", + " Match(words=[Word('liable/JJ')]),\n", + " Match(words=[Word('new/JJ')]),\n", + " Match(words=[Word('new/JJ')]),\n", + " Match(words=[Word('scientific/JJ')]),\n", + " Match(words=[Word('critical/JJ')]),\n", + " Match(words=[Word('critical/JJ')]),\n", + " Match(words=[Word('such/JJ')]),\n", + " Match(words=[Word('liable/JJ')]),\n", + " Match(words=[Word('new/JJ')]),\n", + " Match(words=[Word('such/JJ')]),\n", + " Match(words=[Word('scientific/JJ')]),\n", + " Match(words=[Word('great/JJ')]),\n", + " Match(words=[Word('worthy/JJ')]),\n", + " Match(words=[Word('unworthy/JJ')]),\n", + " Match(words=[Word('great/JJ')]),\n", + " Match(words=[Word('certified/JJ')]),\n", + " Match(words=[Word('i]Caliban/JJ')]),\n", + " Match(words=[Word('Primitive/JJ')]),\n", + " Match(words=[Word('Enemys/JJ')]),\n", + " Match(words=[Word('i]Social/JJ')]),\n", + " Match(words=[Word('Quarterly/JJ')]),\n", + " Match(words=[Word('Dark/JJ')]),\n", + " Match(words=[Word('Short/JJ')])]" + ] + }, + "execution_count": 82, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "search(\"JJ\", tree)" + ] + }, + { + "cell_type": "code", + "execution_count": 83, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "[Match(words=[Word('take/VB'), Word('this/DT'), Word('motto/NN')]),\n", + " Match(words=[Word('disqualify/VB'), Word('the/DT'), Word('resurgence/NN')]),\n", + " Match(words=[Word('be/VB'), Word('the/DT'), Word('way/NN')]),\n", + " Match(words=[Word('inherit/VB'), Word('the/DT'), Word('struggle/NN')]),\n", + " Match(words=[Word('resist/VB'), Word('the/DT'), Word('idea/NN')]),\n", + " Match(words=[Word('have/VB'), Word('the/DT'), Word('courage/NN')]),\n", + " Match(words=[Word('accept/VB'), Word('this/DT'), Word('loss/NN')]),\n", + " Match(words=[Word('be/VB'), Word('a/DT'), Word('question/NN')]),\n", + " Match(words=[Word('have/VB'), Word('no/DT'), Word('power/NN')]),\n", + " Match(words=[Word('signal/VB'), Word('an/DT'), Word('advance/NN')]),\n", + " Match(words=[Word('generate/VB'), Word('the/DT'), Word('capacity/NN')]),\n", + " Match(words=[Word('suspect/VB'), Word('some/DT'), Word('kind/NN')]),\n", + " Match(words=[Word('suppress/VB'), Word('any/DT'), Word('temptation/NN')]),\n", + " Match(words=[Word('doubt/VB'), Word('the/DT'), Word('kind/NN')]),\n", + " Match(words=[Word('make/VB'), Word('a/DT'), Word('living/NN')]),\n", + " Match(words=[Word('become/VB'), Word('an/DT'), Word('ally/NN')]),\n", + " Match(words=[Word('weather/VB'), Word('the/DT'), Word('storm/NN')]),\n", + " Match(words=[Word('recover/VB'), Word('the/DT'), Word('capacity/NN')])]" + ] + }, + "execution_count": 83, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "search('VB DT NN', tree)" + ] + }, + { + "cell_type": "code", + "execution_count": 84, + "metadata": {}, + "outputs": [], + "source": [ + "f = open(\"vbdtnn.html\",\"w\")\n", + "n = 0\n", + "print(\"\"\"\"\"\",file = f)\n", + "print(\"choose your action:\",file = f)\n", + "\n", + "for m in search (\"VB DT NN\", tree): \n", + " print(f\"{m.string}\",file = f)\n", + " n = n + 1\n", + "f.close()" + ] + }, + { + "cell_type": "code", + "execution_count": 85, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "'recover the capacity'" + ] + }, + "execution_count": 85, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "m.string" + ] + }, + { + "cell_type": "code", + "execution_count": 86, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "their memory\n", + "their power and practices\n", + "their old rites\n", + "their labour-power\n", + "their activism\n", + "their chant\n", + "their return\n", + "our future\n", + "their fate\n", + "its own destruction\n", + "its specific responsibility\n", + "their way\n", + "his back\n", + "his destiny\n", + "their deconstruction\n", + "its destruction\n", + "their duty\n", + "their method\n", + "their fields\n", + "their objectivity\n", + "their position\n", + "its own way\n", + "our own reasons demands\n", + "our reasons\n", + "their own reasons\n", + "their interest prevail\n", + "his colleagues\n", + "their participation\n", + "its power\n", + "its rightful object\n", + "our business-as-usual academic routines\n", + "our future\n", + "our business-as-usual life\n", + "our reasons\n", + "its [\n", + "our future\n", + "their part\n", + "their own\n", + "their maintenance\n", + "our additions\n", + "My Enemys Enemy\n", + "i]The Quarterly Review\n" + ] + } + ], + "source": [ + "for m in search (\"PRP$ *\", tree):\n", + " print (f\"{m.string}\")\n", + " " + ] + }, + { + "cell_type": "code", + "execution_count": 87, + "metadata": {}, + "outputs": [], + "source": [ + "from pattern.en import wordnet" + ] + }, + { + "cell_type": "code", + "execution_count": 88, + "metadata": { + "scrolled": true + }, + "outputs": [ + { + "data": { + "text/plain": [ + "[Match(words=[Word('RESURGENCE/NN')]),\n", + " Match(words=[Word('motto/NN')]),\n", + " Match(words=[Word('cry/NN')]),\n", + " Match(words=[Word('resurgence/NN')]),\n", + " Match(words=[Word('memory/NN')]),\n", + " Match(words=[Word('retrospective/NN')]),\n", + " Match(words=[Word('power/NN')]),\n", + " Match(words=[Word('matter/NN')]),\n", + " Match(words=[Word('construction/NN')]),\n", + " Match(words=[Word('understanding/NN')]),\n", + " Match(words=[Word('destruction/NN')]),\n", + " Match(words=[Word('appropriation/NN')]),\n", + " Match(words=[Word('commons/NN')]),\n", + " Match(words=[Word('rule/NN')]),\n", + " Match(words=[Word('law/NN')]),\n", + " Match(words=[Word('owner/NN')]),\n", + " Match(words=[Word('invention/NN')]),\n", + " Match(words=[Word('labour-power/NN')]),\n", + " Match(words=[Word('market/NN')]),\n", + " Match(words=[Word('commodity/NN')]),\n", + " Match(words=[Word('Listening/NN')]),\n", + " Match(words=[Word('cry/NN')]),\n", + " Match(words=[Word('honour/NN')]),\n", + " Match(words=[Word('vision/NN')]),\n", + " Match(words=[Word('era/NN')]),\n", + " Match(words=[Word('activism/NN')]),\n", + " Match(words=[Word('memory/NN')]),\n", + " Match(words=[Word('past/NN')]),\n", + " Match(words=[Word('religion/NN')]),\n", + " Match(words=[Word('goddess/NN')]),\n", + " Match(words=[Word('judgement/NN')]),\n", + " Match(words=[Word('resurgence/NN')]),\n", + " Match(words=[Word('chant/NN')]),\n", + " Match(words=[Word('goddess/NN')]),\n", + " Match(words=[Word('return/NN')]),\n", + " Match(words=[Word('return/NN')]),\n", + " Match(words=[Word('goddess/NN')]),\n", + " Match(words=[Word('regression/NN')]),\n", + " Match(words=[Word('future/NN')]),\n", + " Match(words=[Word('question/NN')]),\n", + " Match(words=[Word('resurgence/NN')]),\n", + " Match(words=[Word('future/NN')]),\n", + " Match(words=[Word('order/NN')]),\n", + " Match(words=[Word('something/NN')]),\n", + " Match(words=[Word('way/NN')]),\n", + " Match(words=[Word('way/NN')]),\n", + " Match(words=[Word('fate/NN')]),\n", + " Match(words=[Word('fate/NN')]),\n", + " Match(words=[Word('price/NN')]),\n", + " Match(words=[Word('progress/NN')]),\n", + " Match(words=[Word('cascading/NN')]),\n", + " Match(words=[Word('destruction/NN')]),\n", + " Match(words=[Word('world/NN')]),\n", + " Match(words=[Word('destruction/NN')]),\n", + " Match(words=[Word('one/NN')]),\n", + " Match(words=[Word('responsibility/NN')]),\n", + " Match(words=[Word('formation/NN')]),\n", + " Match(words=[Word('way/NN')]),\n", + " Match(words=[Word('future/NN')]),\n", + " Match(words=[Word('Resurgence/NN')]),\n", + " Match(words=[Word('reappearance/NN')]),\n", + " Match(words=[Word('something/NN')]),\n", + " Match(words=[Word('pest/NN')]),\n", + " Match(words=[Word('epidemic/NN')]),\n", + " Match(words=[Word('vector/NN')]),\n", + " Match(words=[Word('operation/NN')]),\n", + " Match(words=[Word('eradication/NN')]),\n", + " Match(words=[Word('landscape/NN')]),\n", + " Match(words=[Word('catastrophe/NN')]),\n", + " Match(words=[Word('exploitation/NN')]),\n", + " Match(words=[Word('Today/NN')]),\n", + " Match(words=[Word('reworlding/NN')]),\n", + " Match(words=[Word('ecology/NN')]),\n", + " Match(words=[Word('restoration/NN')]),\n", + " Match(words=[Word('equilibrium/NN')]),\n", + " Match(words=[Word('Ecology/NN')]),\n", + " Match(words=[Word('association/NN')]),\n", + " Match(words=[Word('reality/NN')]),\n", + " Match(words=[Word('generalization/NN')]),\n", + " Match(words=[Word('contrast/NN')]),\n", + " Match(words=[Word('idea/NN')]),\n", + " Match(words=[Word('regression/NN')]),\n", + " Match(words=[Word('Man/NN')]),\n", + " Match(words=[Word('Man/NN')]),\n", + " Match(words=[Word('back/NN')]),\n", + " Match(words=[Word('destiny/NN')]),\n", + " Match(words=[Word('emancipation/NN')]),\n", + " Match(words=[Word('order/NN')]),\n", + " Match(words=[Word('nature/NN')]),\n", + " Match(words=[Word('deconstruction/NN')]),\n", + " Match(words=[Word('imperialist/NN')]),\n", + " Match(words=[Word('colonialist/NN')]),\n", + " Match(words=[Word('character/NN')]),\n", + " Match(words=[Word('Man/NN')]),\n", + " Match(words=[Word('motto/NN')]),\n", + " Match(words=[Word('reference/NN')]),\n", + " Match(words=[Word('progress/NN')]),\n", + " Match(words=[Word('possibility/NN')]),\n", + " Match(words=[Word('resurgence/NN')]),\n", + " Match(words=[Word('materialist/NN')]),\n", + " Match(words=[Word('secularist/NN')]),\n", + " Match(words=[Word('position/NN')]),\n", + " Match(words=[Word('resurgence/NN')]),\n", + " Match(words=[Word('word/NN')]),\n", + " Match(words=[Word('future/NN')]),\n", + " Match(words=[Word('way/NN')]),\n", + " Match(words=[Word('challenge/NN')]),\n", + " Match(words=[Word('materialism/NN')]),\n", + " Match(words=[Word('secularism/NN')]),\n", + " Match(words=[Word('today/NN')]),\n", + " Match(words=[Word('struggle/NN')]),\n", + " Match(words=[Word('character/NN')]),\n", + " Match(words=[Word('materialism/NN')]),\n", + " Match(words=[Word('secularism/NN')]),\n", + " Match(words=[Word('destruction/NN')]),\n", + " Match(words=[Word('transition/NN')]),\n", + " Match(words=[Word('capitalism/NN')]),\n", + " Match(words=[Word('world.[1/NN')]),\n", + " Match(words=[Word('idea/NN')]),\n", + " Match(words=[Word('courage/NN')]),\n", + " Match(words=[Word('loss/NN')]),\n", + " Match(words=[Word('question/NN')]),\n", + " Match(words=[Word('root/NN')]),\n", + " Match(words=[Word('environment/NN')]),\n", + " Match(words=[Word('way/NN')]),\n", + " Match(words=[Word('destruction/NN')]),\n", + " Match(words=[Word('fait/NN')]),\n", + " Match(words=[Word('accompli/NN')]),\n", + " Match(words=[Word('environment/NN')]),\n", + " Match(words=[Word('fait/NN')]),\n", + " Match(words=[Word('accompli/NN')]),\n", + " Match(words=[Word('destruction/NN')]),\n", + " Match(words=[Word('point/NN')]),\n", + " Match(words=[Word('agreement/NN')]),\n", + " Match(words=[Word('antagonist/NN')]),\n", + " Match(words=[Word('fact/NN')]),\n", + " Match(words=[Word('magic/NN')]),\n", + " Match(words=[Word('practice/NN')]),\n", + " Match(words=[Word('magic/NN')]),\n", + " Match(words=[Word('cultural-subjective/NN')]),\n", + " Match(words=[Word('construction/NN')]),\n", + " Match(words=[Word('Objectivity/NN')]),\n", + " Match(words=[Word('Subjectivity/NN')]),\n", + " Match(words=[Word('banners[b/NN')]),\n", + " Match(words=[Word('world/NN')]),\n", + " Match(words=[Word('routine/NN')]),\n", + " Match(words=[Word('methodology/NN')]),\n", + " Match(words=[Word('duty/NN')]),\n", + " Match(words=[Word('order/NN')]),\n", + " Match(words=[Word('information/NN')]),\n", + " Match(words=[Word('meaning/NN')]),\n", + " Match(words=[Word('value/NN')]),\n", + " Match(words=[Word('way/NN')]),\n", + " Match(words=[Word('quest/NN')]),\n", + " Match(words=[Word('approach/NN')]),\n", + " Match(words=[Word('objectivity/NN')]),\n", + " Match(words=[Word('subjectivity/NN')]),\n", + " Match(words=[Word('way/NN')]),\n", + " Match(words=[Word('method/NN')]),\n", + " Match(words=[Word('knowledge/NN')]),\n", + " Match(words=[Word('objectivity/NN')]),\n", + " Match(words=[Word('banner/NN')]),\n", + " Match(words=[Word('power/NN')]),\n", + " Match(words=[Word('sense/NN')]),\n", + " Match(words=[Word('achievement/NN')]),\n", + " Match(words=[Word('objective/NN')]),\n", + " Match(words=[Word('fact/NN')]),\n", + " Match(words=[Word('questioning/NN')]),\n", + " Match(words=[Word('objectivity/NN')]),\n", + " Match(words=[Word('creation/NN')]),\n", + " Match(words=[Word('situation/NN')]),\n", + " Match(words=[Word('thing/NN')]),\n", + " Match(words=[Word('power/NN')]),\n", + " Match(words=[Word('interpretation/NN')]),\n", + " Match(words=[Word('one/NN')]),\n", + " Match(words=[Word('objectivity/NN')]),\n", + " Match(words=[Word('name/NN')]),\n", + " Match(words=[Word('event/NN')]),\n", + " Match(words=[Word('outcome/NN')]),\n", + " Match(words=[Word('method/NN')]),\n", + " Match(words=[Word('lab/NN')]),\n", + " Match(words=[Word('techno-social/NN')]),\n", + " Match(words=[Word('milieu/NN')]),\n", + " Match(words=[Word('world/NN')]),\n", + " Match(words=[Word('claim/NN')]),\n", + " Match(words=[Word('objectivity/NN')]),\n", + " Match(words=[Word('lab/NN')]),\n", + " Match(words=[Word('claim/NN')]),\n", + " Match(words=[Word('operator/NN')]),\n", + " Match(words=[Word('kind/NN')]),\n", + " Match(words=[Word('objectivity/NN')]),\n", + " Match(words=[Word('sheer/NN')]),\n", + " Match(words=[Word('extraction/NN')]),\n", + " Match(words=[Word('imposition/NN')]),\n", + " Match(words=[Word('method/NN')]),\n", + " Match(words=[Word('banner/NN')]),\n", + " Match(words=[Word('conquest/NN')]),\n", + " Match(words=[Word('hand/NN')]),\n", + " Match(words=[Word('ground/NN')]),\n", + " Match(words=[Word('subjectivity/NN')]),\n", + " Match(words=[Word('objectivity/NN')]),\n", + " Match(words=[Word('difference/NN')]),\n", + " Match(words=[Word('sciences.[2/NN')]),\n", + " Match(words=[Word('banner/NN')]),\n", + " Match(words=[Word('subjectivity/NN')]),\n", + " Match(words=[Word('turns/NN')]),\n", + " Match(words=[Word('turn/NN')]),\n", + " Match(words=[Word('t/NN')]),\n", + " Match(words=[Word('help/NN')]),\n", + " Match(words=[Word('advance/NN')]),\n", + " Match(words=[Word('destruction/NN')]),\n", + " Match(words=[Word('sense/NN')]),\n", + " Match(words=[Word('contrast/NN')]),\n", + " Match(words=[Word('resurgence/NN')]),\n", + " Match(words=[Word('demoralization/NN')]),\n", + " Match(words=[Word('perspective/NN')]),\n", + " Match(words=[Word('advance/NN')]),\n", + " Match(words=[Word('Demoralization/NN')]),\n", + " Match(words=[Word('recognition/NN')]),\n", + " Match(words=[Word('limit/NN')]),\n", + " Match(words=[Word('possibility/NN')]),\n", + " Match(words=[Word('possibility/NN')]),\n", + " Match(words=[Word('feeling/NN')]),\n", + " Match(words=[Word('legitimacy/NN')]),\n", + " Match(words=[Word('objectivity/NN')]),\n", + " Match(words=[Word('subjectivity/NN')]),\n", + " Match(words=[Word('signal/NN')]),\n", + " Match(words=[Word('process/NN')]),\n", + " Match(words=[Word('resurgence/NN')]),\n", + " Match(words=[Word('position/NN')]),\n", + " Match(words=[Word('subjectivity/NN')]),\n", + " Match(words=[Word('objectivity/NN')]),\n", + " Match(words=[Word('dismemberment/NN')]),\n", + " Match(words=[Word('sense[b/NN')]),\n", + " Match(words=[Word('matter/NN')]),\n", + " Match(words=[Word('way/NN')]),\n", + " Match(words=[Word('mobilization/NN')]),\n", + " Match(words=[Word('advance/NN')]),\n", + " Match(words=[Word('knowledge/NN')]),\n", + " Match(words=[Word('resurgence/NN')]),\n", + " Match(words=[Word('situation/NN')]),\n", + " Match(words=[Word('power/NN')]),\n", + " Match(words=[Word('think/NN')]),\n", + " Match(words=[Word('learning/NN')]),\n", + " Match(words=[Word('process/NN')]),\n", + " Match(words=[Word('situation/NN')]),\n", + " Match(words=[Word('requirement/NN')]),\n", + " Match(words=[Word('power/NN')]),\n", + " Match(words=[Word('objective&slash;subjective/NN')]),\n", + " Match(words=[Word('disjunction/NN')]),\n", + " Match(words=[Word('way/NN')]),\n", + " Match(words=[Word('process/NN')]),\n", + " Match(words=[Word('ritual/NN')]),\n", + " Match(words=[Word('bullet-point/NN')]),\n", + " Match(words=[Word('instance/NN')]),\n", + " Match(words=[Word('way/NN')]),\n", + " Match(words=[Word('game/NN')]),\n", + " Match(words=[Word('truth/NN')]),\n", + " Match(words=[Word('power/NN')]),\n", + " Match(words=[Word('position/NN')]),\n", + " Match(words=[Word('addition/NN')]),\n", + " Match(words=[Word('inspiration/NN')]),\n", + " Match(words=[Word('instance/NN')]),\n", + " Match(words=[Word('way/NN')]),\n", + " Match(words=[Word('sweat/NN')]),\n", + " Match(words=[Word('lodge/NN')]),\n", + " Match(words=[Word('Today/NN')]),\n", + " Match(words=[Word('share/NN')]),\n", + " Match(words=[Word('reinvention/NN')]),\n", + " Match(words=[Word('art/NN')]),\n", + " Match(words=[Word('deliberation/NN')]),\n", + " Match(words=[Word('issue/NN')]),\n", + " Match(words=[Word('deliberation/NN')]),\n", + " Match(words=[Word('power/NN')]),\n", + " Match(words=[Word('sense/NN')]),\n", + " Match(words=[Word('care/NN')]),\n", + " Match(words=[Word('truth/NN')]),\n", + " Match(words=[Word('power/NN')]),\n", + " Match(words=[Word('agreement/NN')]),\n", + " Match(words=[Word('process/NN')]),\n", + " Match(words=[Word('party/NN')]),\n", + " Match(words=[Word('experiment/NN')]),\n", + " Match(words=[Word('capacity/NN')]),\n", + " Match(words=[Word('feel/NN')]),\n", + " Match(words=[Word('goddess/NN')]),\n", + " Match(words=[Word('room/NN')]),\n", + " Match(words=[Word('power/NN')]),\n", + " Match(words=[Word('generativity/NN')]),\n", + " Match(words=[Word('chant/NN')]),\n", + " Match(words=[Word('everything/NN')]),\n", + " Match(words=[Word('everything/NN')]),\n", + " Match(words=[Word('honour/NN')]),\n", + " Match(words=[Word('change/NN')]),\n", + " Match(words=[Word('everything/NN')]),\n", + " Match(words=[Word('way/NN')]),\n", + " Match(words=[Word('conversion/NN')]),\n", + " Match(words=[Word('i]She[i/NN')]),\n", + " Match(words=[Word('course/NN')]),\n", + " Match(words=[Word('trust/NN')]),\n", + " Match(words=[Word('possibility/NN')]),\n", + " Match(words=[Word('generativity/NN')]),\n", + " Match(words=[Word('kind/NN')]),\n", + " Match(words=[Word('role-playing/NN')]),\n", + " Match(words=[Word('role/NN')]),\n", + " Match(words=[Word('something/NN')]),\n", + " Match(words=[Word('position/NN')]),\n", + " Match(words=[Word('temptation/NN')]),\n", + " Match(words=[Word('kind/NN')]),\n", + " Match(words=[Word('authority/NN')]),\n", + " Match(words=[Word('hesitation/NN')]),\n", + " Match(words=[Word('betrayal/NN')]),\n", + " Match(words=[Word('art/NN')]),\n", + " Match(words=[Word('emergence/NN')]),\n", + " Match(words=[Word('intensification/NN')]),\n", + " Match(words=[Word('sensitivity/NN')]),\n", + " Match(words=[Word('sensitivity/NN')]),\n", + " Match(words=[Word('change/NN')]),\n", + " Match(words=[Word('relationship/NN')]),\n", + " Match(words=[Word('song[b/NN')]),\n", + " Match(words=[Word('resurgence/NN')]),\n", + " Match(words=[Word('situation/NN')]),\n", + " Match(words=[Word('work/NN')]),\n", + " Match(words=[Word('laboratory/NN')]),\n", + " Match(words=[Word('redefinition/NN')]),\n", + " Match(words=[Word('biology/NN')]),\n", + " Match(words=[Word('abstraction/NN')]),\n", + " Match(words=[Word('interest/NN')]),\n", + " Match(words=[Word('prevail/NN')]),\n", + " Match(words=[Word('living/NN')]),\n", + " Match(words=[Word('none/NN')]),\n", + " Match(words=[Word('biology.[3/NN')]),\n", + " Match(words=[Word('song/NN')]),\n", + " Match(words=[Word('singer/NN')]),\n", + " Match(words=[Word('specialist/NN')]),\n", + " Match(words=[Word('microbiology/NN')]),\n", + " Match(words=[Word('character/NN')]),\n", + " Match(words=[Word('composition/NN')]),\n", + " Match(words=[Word('pattern/NN')]),\n", + " Match(words=[Word('song/NN')]),\n", + " Match(words=[Word('lab/NN')]),\n", + " Match(words=[Word('field/NN')]),\n", + " Match(words=[Word('life/NN')]),\n", + " Match(words=[Word('participation/NN')]),\n", + " Match(words=[Word('revolution/NN')]),\n", + " Match(words=[Word('biology/NN')]),\n", + " Match(words=[Word('heresy/NN')]),\n", + " Match(words=[Word('challenge/NN')]),\n", + " Match(words=[Word('creed/NN')]),\n", + " Match(words=[Word('advance/NN')]),\n", + " Match(words=[Word('science/NN')]),\n", + " Match(words=[Word('biology/NN')]),\n", + " Match(words=[Word('power/NN')]),\n", + " Match(words=[Word('research/NN')]),\n", + " Match(words=[Word('direction/NN')]),\n", + " Match(words=[Word('song/NN')]),\n", + " Match(words=[Word('assemblage/NN')]),\n", + " Match(words=[Word('interdependence/NN')]),\n", + " Match(words=[Word('extraction/NN')]),\n", + " Match(words=[Word('isolation/NN')]),\n", + " Match(words=[Word('road/NN')]),\n", + " Match(words=[Word('progress/NN')]),\n", + " Match(words=[Word('theory/NN')]),\n", + " Match(words=[Word('i]a/NN')]),\n", + " Match(words=[Word('priori[i/NN')]),\n", + " Match(words=[Word('object/NN')]),\n", + " Match(words=[Word('way/NN')]),\n", + " Match(words=[Word('situation/NN')]),\n", + " Match(words=[Word('biology/NN')]),\n", + " Match(words=[Word('ally/NN')]),\n", + " Match(words=[Word('resurgence/NN')]),\n", + " Match(words=[Word('time/NN')]),\n", + " Match(words=[Word('demobilization/NN')]),\n", + " Match(words=[Word('s/NN')]),\n", + " Match(words=[Word('proposition/NN')]),\n", + " Match(words=[Word('future/NN')]),\n", + " Match(words=[Word('life/NN')]),\n", + " Match(words=[Word('place/NN')]),\n", + " Match(words=[Word('resurgence/NN')]),\n", + " Match(words=[Word('cultivation/NN')]),\n", + " Match(words=[Word('art/NN')]),\n", + " Match(words=[Word('attention/NN')]),\n", + " Match(words=[Word('art/NN')]),\n", + " Match(words=[Word('vigilance/NN')]),\n", + " Match(words=[Word('relevance/NN')]),\n", + " Match(words=[Word('risk/NN')]),\n", + " Match(words=[Word('disaster/NN')]),\n", + " Match(words=[Word('demand/NN')]),\n", + " Match(words=[Word('precariousness/NN')]),\n", + " Match(words=[Word('stable/NN')]),\n", + " Match(words=[Word('Tsing/NN')]),\n", + " Match(words=[Word('Matsutake/NN')]),\n", + " Match(words=[Word('mushroom/NN')]),\n", + " Match(words=[Word('extraction/NN')]),\n", + " Match(words=[Word('exploitation/NN')]),\n", + " Match(words=[Word('matter[I/NN')]),\n", + " Match(words=[Word('Devastation/NN')]),\n", + " Match(words=[Word('unravelling/NN')]),\n", + " Match(words=[Word('life/NN')]),\n", + " Match(words=[Word('deliberate/NN')]),\n", + " Match(words=[Word('idea/NN')]),\n", + " Match(words=[Word('case/NN')]),\n", + " Match(words=[Word('mushroom/NN')]),\n", + " Match(words=[Word('i]symbionts[i/NN')]),\n", + " Match(words=[Word('knowledge/NN')]),\n", + " Match(words=[Word('objectivity/NN')]),\n", + " Match(words=[Word('subjectivity/NN')]),\n", + " Match(words=[Word('light/NN')]),\n", + " Match(words=[Word('situation/NN')]),\n", + " Match(words=[Word('situation/NN')]),\n", + " Match(words=[Word('woven[b/NN')]),\n", + " Match(words=[Word('future/NN')]),\n", + " Match(words=[Word('possibility/NN')]),\n", + " Match(words=[Word('resurgence/NN')]),\n", + " Match(words=[Word('possibility/NN')]),\n", + " Match(words=[Word('name/NN')]),\n", + " Match(words=[Word('extraction/NN')]),\n", + " Match(words=[Word('web/NN')]),\n", + " Match(words=[Word('generativity.[6/NN')]),\n", + " Match(words=[Word('cultivation/NN')]),\n", + " Match(words=[Word('interdependence/NN')]),\n", + " Match(words=[Word('precariousness/NN')]),\n", + " Match(words=[Word('part/NN')]),\n", + " Match(words=[Word('growth/NN')]),\n", + " Match(words=[Word('selection/NN')]),\n", + " Match(words=[Word('off-ground/NN')]),\n", + " Match(words=[Word('resurgence/NN')]),\n", + " Match(words=[Word('return/NN')]),\n", + " Match(words=[Word('climate/NN')]),\n", + " Match(words=[Word('justice/NN')]),\n", + " Match(words=[Word('i]Alliance/NN')]),\n", + " Match(words=[Word('alliances[i/NN')]),\n", + " Match(words=[Word('gender/NN')]),\n", + " Match(words=[Word('colour/NN')]),\n", + " Match(words=[Word('resistance/NN')]),\n", + " Match(words=[Word('storm/NN')]),\n", + " Match(words=[Word('need/NN')]),\n", + " Match(words=[Word('honour/NN')]),\n", + " Match(words=[Word('struggle/NN')]),\n", + " Match(words=[Word('for.[7/NN')]),\n", + " Match(words=[Word('commons/NN')]),\n", + " Match(words=[Word('world/NN')]),\n", + " Match(words=[Word('name/NN')]),\n", + " Match(words=[Word('property/NN')]),\n", + " Match(words=[Word('commons/NN')]),\n", + " Match(words=[Word('need/NN')]),\n", + " Match(words=[Word('capacity/NN')]),\n", + " Match(words=[Word('concern/NN')]),\n", + " Match(words=[Word('care/NN')]),\n", + " Match(words=[Word('maintenance/NN')]),\n", + " Match(words=[Word('commons.[8/NN')]),\n", + " Match(words=[Word('Resurgence/NN')]),\n", + " Match(words=[Word('word/NN')]),\n", + " Match(words=[Word('option/NN')]),\n", + " Match(words=[Word('future/NN')]),\n", + " Match(words=[Word('trust/NN')]),\n", + " Match(words=[Word('today/NN')]),\n", + " Match(words=[Word('s/NN')]),\n", + " Match(words=[Word('possibility/NN')]),\n", + " Match(words=[Word('worth/NN')]),\n", + " Match(words=[Word('option/NN')]),\n", + " Match(words=[Word('today/NN')]),\n", + " Match(words=[Word('standing/NN')]),\n", + " Match(words=[Word('place/NN')]),\n", + " Match(words=[Word('skepticism/NN')]),\n", + " Match(words=[Word('resurgence/NN')]),\n", + " Match(words=[Word('option/NN')]),\n", + " Match(words=[Word('ground/NN')]),\n", + " Match(words=[Word('soil/NN')]),\n", + " Match(words=[Word('commons/NN')]),\n", + " Match(words=[Word('abstraction/NN')]),\n", + " Match(words=[Word('process/NN')]),\n", + " Match(words=[Word('matter/NN')]),\n", + " Match(words=[Word('song/NN')]),\n", + " Match(words=[Word('song/NN')]),\n", + " Match(words=[Word('attention/NN')]),\n", + " Match(words=[Word('concern/NN')]),\n", + " Match(words=[Word('attention/NN')]),\n", + " Match(words=[Word('song/NN')]),\n", + " Match(words=[Word('question/NN')]),\n", + " Match(words=[Word('pluriverse/NN')]),\n", + " Match(words=[Word('rise/NN')]),\n", + " Match(words=[Word('fall/NN')]),\n", + " Match(words=[Word('value/NN')]),\n", + " Match(words=[Word('question/NN')]),\n", + " Match(words=[Word('answer/NN')]),\n", + " Match(words=[Word('difference/NN')]),\n", + " Match(words=[Word('world/NN')]),\n", + " Match(words=[Word('manner/NN')]),\n", + " Match(words=[Word('difference/NN')]),\n", + " Match(words=[Word('Enemy/NN')]),\n", + " Match(words=[Word('doi:10.2307&slash;466844/NN')]),\n", + " Match(words=[Word('I./NN')]),\n", + " Match(words=[Word('doi:10.1086&slash;668166/NN')]),\n", + " Match(words=[Word('Song/NN')]),\n", + " Match(words=[Word('i]Biology/NN')]),\n", + " Match(words=[Word('End/NN')]),\n", + " Match(words=[Word('Sex/NN')]),\n", + " Match(words=[Word('Introduction/NN')]),\n", + " Match(words=[Word('i]Pragmatism/NN')]),\n", + " Match(words=[Word('Name/NN')])]" + ] + }, + "execution_count": 88, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "search('NN', tree)\n" + ] + }, + { + "cell_type": "code", + "execution_count": 89, + "metadata": {}, + "outputs": [], + "source": [ + "sense = wordnet.synsets(\"language\")[0]" + ] + }, + { + "cell_type": "code", + "execution_count": 90, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "Synset('communication.n.02')" + ] + }, + "execution_count": 90, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "sense.hypernym" + ] + }, + { + "cell_type": "code", + "execution_count": 78, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "matching owner\n", + "matching Man\n", + "matching Man\n", + "matching imperialist\n", + "matching colonialist\n", + "matching Man\n", + "matching materialist\n", + "matching secularist\n", + "matching antagonist\n", + "matching singer\n", + "matching specialist\n" + ] + } + ], + "source": [ + "output = []\n", + "search_word=\"person\"\n", + "for search_word in search_word.split('|'):\n", + " synset = wordnet.synsets(search_word)[0]\n", + " pos = synset.pos\n", + " possible_words = search(pos, tree)\n", + " for match in possible_words:\n", + " # print (f\"match {match}\")\n", + " word = match[0].string\n", + " synsets = wordnet.synsets(word)\n", + " if len(synsets) > 0:\n", + " hypernyms = synsets[0].hypernyms(recursive=True)\n", + " if any(search_word == h.senses[0] for h in hypernyms):\n", + " print(f\"matching {word}\")\n", + " output.append(word)" + ] + }, + { + "cell_type": "code", + "execution_count": 79, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "['owner',\n", + " 'Man',\n", + " 'Man',\n", + " 'imperialist',\n", + " 'colonialist',\n", + " 'Man',\n", + " 'materialist',\n", + " 'secularist',\n", + " 'antagonist',\n", + " 'singer',\n", + " 'specialist']" + ] + }, + "execution_count": 79, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "output" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + } + ], + "metadata": { + "kernelspec": { + "display_name": "Python 3", + "language": "python", + "name": "python3" + }, + "language_info": { + "codemirror_mode": { + "name": "ipython", + "version": 3 + }, + "file_extension": ".py", + "mimetype": "text/x-python", + "name": "python", + "nbconvert_exporter": "python", + "pygments_lexer": "ipython3", + "version": "3.7.3" + } + }, + "nbformat": 4, + "nbformat_minor": 4 +} diff --git a/RESURGENCE/patterns-generating.ipynb b/RESURGENCE/patterns-generating.ipynb new file mode 100644 index 0000000..ee674ad --- /dev/null +++ b/RESURGENCE/patterns-generating.ipynb @@ -0,0 +1,1122 @@ +{ + "cells": [ + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "# Patterns (part 1)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## Generating patterns" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "Generating patterns, weaving & textile design.\n", + "\n", + "> The structure of a fabric or its weave — that is, the fastening of its elements of threads to each other — is as much a determining factor in its function as is the choice of the raw material. In fact, the interrelation of the two, the subtle play between them in supporting, impeding, or modiying each other's characteristics, is the essence of weaving. (p. 38)\n", + "\n", + "Anni Albers - On Weaving (1965), https://monoskop.org/images/7/71/Albers_Anni_On_Weaving_1974.pdf\n", + "\n", + "![Red-Geen Slit Tapestry, Gunta Stölzl (1927/28)](https://monoskop.org/images/e/ef/Stoelzl_Gunta_1927-28_Red-Green_Slit_Tapestry.jpg)\n", + "\n", + "Red-Geen Slit Tapestry, Gunta Stölzl (1927/28)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "-------------------" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "### Re-turning (to): Variables, Lists & Loops" + ] + }, + { + "cell_type": "code", + "execution_count": 5, + "metadata": {}, + "outputs": [], + "source": [ + "words = ['weaving', 'with', 'words', 'and', 'code']" + ] + }, + { + "cell_type": "code", + "execution_count": 11, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "weaving\n", + "with\n", + "words\n", + "and\n", + "code\n" + ] + } + ], + "source": [ + "# First a simple loop through the list\n", + "for word in words:\n", + " print(word)" + ] + }, + { + "cell_type": "code", + "execution_count": 21, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "code weaving weaving code words\n", + "with with and code and\n", + "code code weaving and with\n", + "and weaving words code and\n", + "and with words words weaving\n" + ] + } + ], + "source": [ + "# Then, a loop in which we start to play with random again\n", + "import random\n", + "for word in words:\n", + " print(random.choice(words), random.choice(words), random.choice(words), random.choice(words), random.choice(words))" + ] + }, + { + "cell_type": "code", + "execution_count": 24, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "\u001b[0;31mInit signature:\u001b[0m \u001b[0mrange\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mself\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m/\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m*\u001b[0m\u001b[0margs\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0;34m**\u001b[0m\u001b[0mkwargs\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n", + "\u001b[0;31mDocstring:\u001b[0m \n", + "range(stop) -> range object\n", + "range(start, stop[, step]) -> range object\n", + "\n", + "Return an object that produces a sequence of integers from start (inclusive)\n", + "to stop (exclusive) by step. range(i, j) produces i, i+1, i+2, ..., j-1.\n", + "start defaults to 0, and stop is omitted! range(4) produces 0, 1, 2, 3.\n", + "These are exactly the valid indices for a list of 4 elements.\n", + "When step is given, it specifies the increment (or decrement).\n", + "\u001b[0;31mType:\u001b[0m type\n", + "\u001b[0;31mSubclasses:\u001b[0m \n" + ] + }, + "metadata": {}, + "output_type": "display_data" + } + ], + "source": [ + "# How to work with more iterations of the loop? \n", + "# For example 100?\n", + "# You can use \"range\"\n", + "range?" + ] + }, + { + "cell_type": "code", + "execution_count": 26, + "metadata": { + "scrolled": true + }, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "words with and code words\n", + "words words and weaving with\n", + "and and and and code\n", + "words code weaving with weaving\n", + "code code code with weaving\n", + "and weaving weaving and with\n", + "weaving with words with and\n", + "and words and weaving and\n", + "words weaving code code weaving\n", + "code words words with code\n", + "weaving with words and code\n", + "weaving and and words weaving\n", + "and weaving weaving and words\n", + "with code weaving weaving and\n", + "with words words code with\n", + "code with weaving and weaving\n", + "weaving weaving weaving with with\n", + "weaving and code code with\n", + "words weaving and and weaving\n", + "weaving words weaving weaving weaving\n", + "with and with weaving and\n", + "and weaving with code code\n", + "code words words and code\n", + "weaving weaving weaving words and\n", + "and words words with and\n", + "and code code code weaving\n", + "weaving weaving words weaving with\n", + "words and code with code\n", + "weaving words and code code\n", + "and words words words words\n", + "weaving and code code weaving\n", + "with with words weaving and\n", + "words code weaving weaving code\n", + "code words words weaving weaving\n", + "words words code code words\n", + "words weaving with and and\n", + "with and and with and\n", + "with code code with words\n", + "with code code with words\n", + "words words and words code\n", + "code weaving words code code\n", + "weaving words and with with\n", + "with with weaving words and\n", + "weaving weaving weaving words code\n", + "and and weaving weaving weaving\n", + "code words code weaving weaving\n", + "with code and and code\n", + "with weaving weaving code words\n", + "and code weaving words with\n", + "and words words weaving weaving\n", + "with code with with code\n", + "weaving weaving code words words\n", + "and and and and words\n", + "words with weaving code weaving\n", + "words code with with code\n", + "code with with code code\n", + "and weaving and words code\n", + "code code with words and\n", + "code code and and words\n", + "and with words weaving weaving\n", + "with weaving with with and\n", + "words and words and with\n", + "weaving code words code words\n", + "with weaving with words words\n", + "weaving words and with and\n", + "code words and words and\n", + "and weaving weaving code code\n", + "with words and code words\n", + "with code weaving code code\n", + "code words code weaving and\n", + "words words code code weaving\n", + "weaving code and with and\n", + "with weaving with weaving words\n", + "with weaving and words and\n", + "and weaving words code and\n", + "with weaving with and code\n", + "weaving words with with words\n", + "words with weaving words and\n", + "weaving and words words words\n", + "with words weaving and and\n", + "weaving code weaving and words\n", + "weaving words weaving with code\n", + "with words and weaving weaving\n", + "code words with with code\n", + "weaving words words and weaving\n", + "and words words with and\n", + "and with code weaving code\n", + "code weaving words and weaving\n", + "with weaving words and and\n", + "code weaving and weaving and\n", + "with weaving code with weaving\n", + "and weaving code code with\n", + "and code words weaving words\n", + "and words weaving with code\n", + "words words weaving words with\n", + "code with with code and\n", + "words with code and code\n", + "code and and words with\n", + "with with words weaving and\n", + "words with weaving words and\n" + ] + } + ], + "source": [ + "# Make a loop that starts at 0 and ends at 99 (100 iterations)\n", + "import random\n", + "for number in range(100):\n", + " print(random.choice(words), random.choice(words), random.choice(words), random.choice(words), random.choice(words))" + ] + }, + { + "cell_type": "code", + "execution_count": 44, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "3\n", + "4\n", + "5\n", + "6\n", + "7\n", + "8\n", + "9\n" + ] + } + ], + "source": [ + "# You can use range also differently, for example to loop in between two numbers ...\n", + "for number in range(3,10):\n", + " print(number)" + ] + }, + { + "cell_type": "code", + "execution_count": 43, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "0\n", + "10\n", + "20\n", + "30\n", + "40\n", + "50\n", + "60\n", + "70\n", + "80\n", + "90\n" + ] + } + ], + "source": [ + "# ... or with bigger steps:\n", + "for number in range(0,100,10):\n", + " print(number)" + ] + }, + { + "cell_type": "code", + "execution_count": 4, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "x y\n", + "x yy\n", + "x yyy\n", + "x yyyy\n", + "x yyyyy\n", + "xx y\n", + "xx yy\n", + "xx yyy\n", + "xx yyyy\n", + "xx yyyyy\n", + "xxx y\n", + "xxx yy\n", + "xxx yyy\n", + "xxx yyyy\n", + "xxx yyyyy\n", + "xxxx y\n", + "xxxx yy\n", + "xxxx yyy\n", + "xxxx yyyy\n", + "xxxx yyyyy\n", + "xxxxx y\n", + "xxxxx yy\n", + "xxxxx yyy\n", + "xxxxx yyyy\n", + "xxxxx yyyyy\n" + ] + } + ], + "source": [ + "# Now... write a loop in a loop\n", + "for x in range(1,6):\n", + " for y in range(1,6):\n", + " print('x'*x, 'y'*y)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "---------------------------------------" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "### ASCII canvas" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "A not-too-big next step is to start generating patterns." + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "![](https://monoskop.org/images/1/1d/Albers_Anni_nd_Typewriter_Studies.jpg)\n", + "\n", + "> These varied experiments in articulation are to be understood not as an end in themselves but merely as a help to us in gaining new terms in the vocabulary of tactile language. (On Weaving, Anni Albers (1965))\n", + "\n", + "Anni Albers - Typewriter Studies" + ] + }, + { + "cell_type": "code", + "execution_count": 5, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n", + "sSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsSsS\n", + "____________________________________________________________________________________________________\n" + ] + } + ], + "source": [ + "# We could replicate Anni's typewriter study now:\n", + "width = 100\n", + "height = 20\n", + "for y in range(height):\n", + " print('sS' * 50)\n", + " print('_' * width)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "**mini-exercise**: try to replicate the other typewriter study yourself now!" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": 9, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "▉▓▞▉▉░░▞▚░▞░▉▚▚▒▓▉▉░░▉▉▞░▓▒▓▞▉▚▒▉▒▓▓▉░▉▞▚░▉▒▞▓▒▞▚▚▉▒▓▓▉▒░▓▉▒▞▓░▉░▒▚░▞▞▒▉░▉▚░▓░▞▚▞▓▞░▓▒▓▞░░▉▉▉▞▚▚▉▞▉░\n", + "░▉▓▞▚▞░▉▚▓▞▉▞▉▚▉▚▚▉▓▒▚▓▞░░▞▚░▒▓▞░▓░▚░░▚░▓▓▒▒▓░▚▞▉▉░░▒▚▞▓░▚▉▚▞▚░░▒▓░░▒▉▉▒▉░▓▉░▉▓░▉▞▞▉▉▞░▞▉▚▉░░░▉▓▚░▉▚\n", + "░▓▒▉▓▒░▒▓▚▓▚▞▓▚▚▉▚▓▞▉▞▓▒▉▓▉▓░▉▓▓▓▞░▓▚░▚▉▒▞▚▉▓▒▒░▒▚▉░▉▞▓░▓▞▞▚▉▉▉▞░▒░▉░▓▒░░▚▒▓░▚░▒▒░░▓▉▉▓▒▉▉▚░▉▒▒▞▓░▞▓\n", + "▚▒▒▓░░▉▞▞▓▉▓▉▓░▚▉░▒▚▓▒▚▒▚▚▚▞▉▉▉▚░▉▚▞▒▚▉▓▉░░▞▚▓▒░▉▉▉▞░▒▉▒▞▚▞▓░▒▉▒▒░▉▉▒▓▓░▒▚░▒▞▉▞▞▚▉░░▚▒▉▒▉▓░░▒▒▉▓▉▚▞▚\n", + "▞▞▚▒▓▒▒▞▓▒▚▉▉▓▓▚▚▞▞▚▚▉▓▞▞▒░▓▓▚▓▒▓▓▚▚▚▒▉▉▚▓▉░▓▒▒▓▞▓▒▚▒▚▉░▓▚▉░▉▉░▞▚▞▚▞▒▓░▓░▓▓▚▉▞▞▒▚▞▒▚▞▉▓▞▚▞▓▞▒▉░░▓▓▓▒\n", + "░▞▓▒▉▒▒▉▞▚▉▒▓▚▞▒▚▚▓▞▉▒▚▞▓▒▉▞▓▒▓▚▞▞▒░▓░░▞▓▓▚▞▓░▞░▚▚░▒▓▚▒▒▚▒░▉▞▞░░▉▞▒▞▚▓▓░▉▉▞▚▚▞▞▓▒░▞▞▒▚░▓▓▓▉▞▚░░▚░▉▚▞\n", + "▒▉▒▒▓░▚▚▉▒▚▒▞▞▓▉▓▉▞▚▉▉▓▒░▒▒░▓▒▚▒▓▓▞▒▓▒▓▚▒░▞▉▉▒░▚░▓░▓▒▓▞▓▓▒▉▉▚▒▞▚▉▉░▚▞▚░▚▓░▉▞▉▚▚▉▞▞▓▒▓▉▓▞▓▓▉▚▉▉▉▒▒▒▒░\n", + "▒▒░▓▞▒░▓▉▚▚▓░▓▒▞▉▞▓▉▉▉▒▓▞▞░▓▚▒▓▓▉▉▞░░░▒▚▉▚░░▉▞▒▓▒▚▓▓▚▚▓▉▉▚▚▓░▒▓▒▞▉░▉▓░▞▒▒▞▚▚▓░▚▞▓▒▚░░▒▒▉▞░▒▒▉▞▞▓▉▒▚▉\n", + "▞▒▉▓▞▒░▚▞▒░▓▉▚▒▒▉▒▉▒▉░▞▚▒▒▒▉▚▓▚▒░▓▉▞▞░░▒▉▉▒▓▉▞▓▞▞░▒▞▒▚░░▓░▞▓▚▉▓▒▚▞░▓░▚▉▚▚▓▓▓▚▉▉▚▞▒▚▉▞▉▓▒▚▒▉▒░▒▉░▓░░▒\n", + "▞▚▞▉▉▚▉▓▞▒▚▒▚▉▞▉▞▒▓▞▒▚▉░▚▓▒▓▚▞▓▒▞▚▞░▞░▒▉▓▞▞▚▒░▓▉▚░▚▚▉▒▓▉▞▓▒▒▒▓▉░░▉▉▚░▓▉▉▞▒▓▚░▒▉▓▞▓▞▉▓▉▒▒▉▒▓▓▒▞░▞▞▚▓░\n", + "░▒▓▉▚▉▓▓▓▓░▞▞▚▚▚▞▞▒▓▚░░▉░▞▓▒▓▒▞▒░▓▞▞▒▓▒▒▚▚▓▉▒▉░▚▞▞▚▞▚▓░▉▓░▞▞▞▞▒░░▚▒▒░░▚░▚▚░▒▓▒▓▉░░░▓▚▒▞▚▓▒▒▚▉▒░▓▓▒▉░\n", + "▞░▚▞▞▚▚▚▒▒▞▒▒▒▉▞▓▚▉▒▞▚▒▉▒▓░▓░▓▞▚▓▒▚▉▞▞▉░▉▒▓░▞▞▉▉▉░▚░▉▉▉▒▓▉▒▚▒▓▉▞▒▞▓▉▒▓▉▞▚▞▒▚▓▚▚▓▓▞▉▉▒▒▓▒▚▞▚▚▒▞▉▞░▒▒▚\n", + "▚▓▒▚▒▚▒▒░▉▒▓▓▒▚▓▓▒░▚▚▚▚▓░░▚░░▞▒▒▉▞▞▒▉░▚▉░░▞▓░▒▞▉▞▉▚▉▓▉░▚▉▉░▒▞▓▒▞▒▚▒▓░▚░▉▚▓▓░▉▉▓▞░░▉▓▓▉░░▞▚▚▒▚▓▒▞▓▉▉▚\n", + "▚▒▞░░▓▓░▚▉▒▓▒▞▚▓▉░▞▚▒▚▞▒░▓▉░▞░▞░▒▒▒▞▚▚░▒░▒░▓▞▉▚▚▓▚▚▒▚▒▞░▒░▞▒▒▉▉▉▒▓▉▓░░▓▚▉▞▚▉▞▚▚▒░▚▒▞▞▒▒▒▞░░░░▞▞▚▉▓▓░\n", + "▒▓▚░▓░▚░▒░▓▞▒▚▓▓▞░▉▚▞▒▉▓▒▓▒░▚▞▚░▞▚▚░▚░▉░▞▓▞▒▞▓▚▚▒▚▉▞░░▞▓░░▒▓▒▒░▞▞▉▒░▓▒▉▉▚▚░░▉▉▚▞░▓▓▒▉░▚▞▞▓▞▉▓▚▚▚░▉░▒\n", + "▓▞▞░░▉▚░░▉▓▒▓▒▞▞▉▒▉▉▒▒░▞▒▒░▚▞▞░░░▉▉▞░▓▉▞▞░▞▞▉▞▉▒▓░▞▉▒▚▉▞░▞▒▉▒▒▞▓▉▞░▓▉▒▚▞▚▒░▓░▚▉▚▞▞▓▚▉▒▚░▚▒▉▓▉░▓▉░░▞▒\n", + "░▞▞▉▓▞▒▒▓▒▉▉▚▚▓▉▚▚▉▚▒▚░▓▉▚▓▓▓▞▚▚▚▞▒▚▓▒▉▚░░▓▉▓▓▉▉▒░▞░▞▚▉▓▞▉▓▒▚▉▞▞▒▞▉░▓░▚▓▒░▚░░░▒▒▞▚▞▓░▚▒░░░▉▞▉▒▉▉▉▓▞▚\n", + "░▞░▞▓▚▚▚▚▞▚▓▞░▒▓▉▞▚▓▚▚▞▞▞▚▓▉░░▓▞░▞▓▞▉▉▒▞▓▓░░▒▞▚▓▉▚▒▒░▓░▉▒░▓▓▒▚▉▓▞▓▞░░▓▚▉▓▓▞▉▓░░▚▚▉▒▓▓░░▞░▉▒▒▞░▒░▞▞░▚\n", + "▓▉▉▉▒▉▞▉░▉░░▒▓▞▉░▓▚▒▞▞▚▚▓▞▒▒░░▒▞▉▒░▉▞▓▉▉▚▓▓░▞▒▉▒▒▉▉▚▞▓▚░▒▉▞░▒▓▒▒▓▚▓░▚▒▞░▒░░▒▓▞▓▉▚▞▞▚▉▞▚▓▞▒▚▞▉▒▉░▓▞░▒\n", + "▒░▉▞▚▉▞▚░░▉▉▒▉▚▓▒▒░▒▒▞░▚▒▓░▉░▉▉▚▚▞▉▒▞▚▉▞▓▞▚░▉▒▞▉▒▞▚▞░▚▉▒▒▓░░░▚▉▓▉▞▉░▉▞▞▓▓▞▒▞▉▉▚▒▒▞▞▚▚▚▒▉░▒▞▓▒▚▒▓▉▒▚▓\n", + "▉░░▓▚▒▞▒▒▉░▚▉▉░▉▒▒▒░░▞▚▞▓▉▚▓▞▉▉▒▞▉▒▞▒▉▓▞░▞▒▚▒▚▓▓▚▚▚▒▒▓▓▓▞░▓▓▚░▉▉▒▞▓▞▓░▉▞▞▚▓▚░▉▓▚▚▓▓▞▒▉▚▓░░▓▞▒▉▉▞▞░▓▞\n", + "▉▓▚▉░▉▓▞▞░▚▒▓▞▉▞▚▉▉░▒▉▉▉▒░▒▒▚░▒▚▒▓▉▚░▚░▉▞▚▉▓▓▞▒▚▉▚▉▚▞▒▉▚▚▚▒░░▞▉▒▓▉▉▚▓▚▉▞▓▞▒▓▓▞▒▚▓▚░░▚▒▒▚░▉▞▒░▓░▉▓▉▒▓\n", + "▓▚▒▓▚▉▚▉░▓▚▒▓▚░░▚▒▞░░▒▚▓▓▞░▒▒▚▓░▒▞▉▚░░▚▉▚▒░▒▉▚▉▞▞▞▓▞▉▞▒▚░▚▉▒▚▞▓▚▉░▓▚▚░▒▞░▉▞▒▉▉▞▚▞▓▓▓▒▚▉▚▚▉▒▉░▞▉▚▚░▉▒\n", + "▚░▉▓▞░▓▉░▉▞▓▉▓▓▉▉░▚▓▉▞░▓░▚▞▞▚░▓▒▚░▞░▓▚░▞░▓▚▓▉░▞▓▓░▉▒▓▓░▚▓▉▓▞▉▚▒▞▉▚▓▓░░▞▓▚▞▉▓▉▒▓░▉░▉▞░░▞░░▞▒▒▞▚▓▓▉▓▞▞\n", + "▒▓▞▉▒▚▞▓▞▉▞▞░▉░▓▞▓░▓▉▞▉▉▓▓▚▞▚▉▓▞▚▚▓▚▒▒▞▚▞▒▞▒▞▒░░▓▉▒▚▉▓▓▓▒▚▞▓▒▞▓▓▒▞░▞▞▞▚▒▉▓▓▚▉▓░▒▞▞▓░▉░▓▞▓▒▞▓▞░▓░▉▚▚▞\n", + "░▚▞▚░▒▒▓▞▓▉░▓▚▓▉░▉▒░▉▞░▒▒▞▒▉▓▚▉▞▚▚▒▚░▚▞▓▞░▒▉▚▓▒▒▞▚▉░▞░▉▚░░▞▚▓░▞▚░▒▉▉▉▚▓▓▉▒▞▒▓▚░▉░░▚▞▓▞▞▞▚░▉░▓░▉▉▓▓▞░\n", + "▓▚▒░▓▒▞▒░▞▚░▞▉▉▒▞▚▓▞▉▚▓░▞▚▓▓▒▚▞▓▉▚▉▚▒▒▓▒▚░░▉▞▚░▒▞▞▚▓▞▉▓▉▚░▒▒▒▒▚▒▓▞▉▓▚▚▉▒▚░▒▓▉░░░░▉▚▞░▞░░▓░▓▒▚▒░░▓░▚▉\n", + "░▞▞▒▒▉▉▉▞▞▓▓▞▞░▒▒▞▚▚▚▚▞▚▚░▚▓▓▓▓▓▒▚▒▒▓▓▉▉▒▞░▚▓░▞▞▉▚▞▉▚▞▒▉▞▓▚░▓░▒▚▚▒▞▓▒▓▓▒▓▚▒▉▓▚▚▓░▓▉░▚▒▉░▓▒░░▞▓▞░▉▚▒▞\n", + "▒▚▒▞░▚▉░░▞░▓▞▞▚▉░░▞▞▉▞▓▒▚▉▒▉▓▒▓▒▓▒▞▉▞▚▞▉▞▒▓░▚▉▓▞▒▞▉▉▚▉▉▉▞▓▚▚▞▉▓░▒░▞▒▓▒▚▚▒▓▚▞▓▓▞▞▒▚▉▚▞▞▚▓▞▞▚▚▞▓▚░▉░░▉\n", + "▒▉▚▚░▞░░▚▓▞░▉▉▓▓░▓▓▞░▞░▒▚▒▒▉▓▚▞░▒▞▉▉▞▚▉▓▓░▓▚▒▒▒▒▒▚▉▞▚░▉▓▚▞▒░▞▞▒▞▞░▚▓▒▓░▚▚▓▚▞▒▉░▉▉▚░▚▒▚░▞▉▉▒▓▞▓▉▉▒▓▉▚\n" + ] + } + ], + "source": [ + "# Let's continue a bit with this \"canvas-mode\" of working, \n", + "# and let's bring the random function to the table again.\n", + "\n", + "# In order to slowly build a canvas of characters, \n", + "# we will use a variable (called 'line' in this case) to temporary save our line ...\n", + "\n", + "import random\n", + "characters = ['░','▒','▓','▉','▚','▞']\n", + "width = 100\n", + "height = 30\n", + "line = ''\n", + "for y in range(height):\n", + " for x in range(width):\n", + " line += random.choice(characters)\n", + " print(line)\n", + " line = ''" + ] + }, + { + "cell_type": "code", + "execution_count": 6, + "metadata": { + "scrolled": true + }, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "x = 0\n", + " y = 0\n", + " y = 1\n", + " y = 2\n", + " y = 3\n", + " y = 4\n", + " y = 5\n", + " y = 6\n", + " y = 7\n", + " y = 8\n", + " y = 9\n", + "x = 1\n", + " y = 0\n", + " y = 1\n", + " y = 2\n", + " y = 3\n", + " y = 4\n", + " y = 5\n", + " y = 6\n", + " y = 7\n", + " y = 8\n", + " y = 9\n", + "x = 2\n", + " y = 0\n", + " y = 1\n", + " y = 2\n", + " y = 3\n", + " y = 4\n", + " y = 5\n", + " y = 6\n", + " y = 7\n", + " y = 8\n", + " y = 9\n", + "x = 3\n", + " y = 0\n", + " y = 1\n", + " y = 2\n", + " y = 3\n", + " y = 4\n", + " y = 5\n", + " y = 6\n", + " y = 7\n", + " y = 8\n", + " y = 9\n", + "x = 4\n", + " y = 0\n", + " y = 1\n", + " y = 2\n", + " y = 3\n", + " y = 4\n", + " y = 5\n", + " y = 6\n", + " y = 7\n", + " y = 8\n", + " y = 9\n", + "x = 5\n", + " y = 0\n", + " y = 1\n", + " y = 2\n", + " y = 3\n", + " y = 4\n", + " y = 5\n", + " y = 6\n", + " y = 7\n", + " y = 8\n", + " y = 9\n", + "x = 6\n", + " y = 0\n", + " y = 1\n", + " y = 2\n", + " y = 3\n", + " y = 4\n", + " y = 5\n", + " y = 6\n", + " y = 7\n", + " y = 8\n", + " y = 9\n", + "x = 7\n", + " y = 0\n", + " y = 1\n", + " y = 2\n", + " y = 3\n", + " y = 4\n", + " y = 5\n", + " y = 6\n", + " y = 7\n", + " y = 8\n", + " y = 9\n", + "x = 8\n", + " y = 0\n", + " y = 1\n", + " y = 2\n", + " y = 3\n", + " y = 4\n", + " y = 5\n", + " y = 6\n", + " y = 7\n", + " y = 8\n", + " y = 9\n", + "x = 9\n", + " y = 0\n", + " y = 1\n", + " y = 2\n", + " y = 3\n", + " y = 4\n", + " y = 5\n", + " y = 6\n", + " y = 7\n", + " y = 8\n", + " y = 9\n" + ] + } + ], + "source": [ + "# A loop in a loop?\n", + "width = 10\n", + "height = 10\n", + "for y in range(height):\n", + " print('x =', x)\n", + " for x in range(width):\n", + " print(' y =', y)" + ] + }, + { + "cell_type": "code", + "execution_count": 29, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n", + "01234567891011121314151617181920212223242526272829\n" + ] + } + ], + "source": [ + "# A loop in a loop + collecting characters in a line...\n", + "width = 30\n", + "height = 20\n", + "line = ''\n", + "for y in range(height):\n", + " for x in range(width):\n", + " line += str(x) \n", + " print(line)\n", + " line = '' # try to comment this line out, to see the difference" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": 10, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n", + "------------------------------------------------------------++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++\n" + ] + } + ], + "source": [ + "# More patterns, more ways of drawing in this canvas ...\n", + "width = 60\n", + "height = 20\n", + "line = ''\n", + "for y in range(height):\n", + " # here i collect all the characters for one line\n", + " line += '-' * width\n", + " line += '+' * width\n", + " \n", + " # print & reset\n", + " print(line)\n", + " line = ''\n" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": 17, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? \n", + " !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!!\n", + "??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? \n", + " !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!!\n", + "??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? \n", + " !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!!\n", + "??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? \n", + " !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!!\n", + "??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? \n", + " !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!!\n", + "??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? \n", + " !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!!\n", + "??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? \n", + " !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!!\n", + "??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? \n", + " !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!!\n", + "??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? \n", + " !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!!\n", + "??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? ??? \n", + " !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!! !!!\n" + ] + } + ], + "source": [ + "# or another one\n", + "width = 20\n", + "height = 20\n", + "line = ''\n", + "\n", + "for y in range(height):\n", + " \n", + " # here i collect all the characters for one line\n", + " for x in range(width):\n", + " \n", + " # check if the line \"number\" is odd or even\n", + " # to do this, you can use the \"%\", called the \"modulo\"\n", + " if y % 2 == 0:\n", + " line += '???'\n", + " line += ' '\n", + " else:\n", + " line += ' '\n", + " line += '!!!'\n", + " \n", + " # print & reset\n", + " print(line)\n", + " line = ''" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": 18, + "metadata": {}, + "outputs": [], + "source": [ + "# Let's also make a pattern that exceeds the width of a single line\n", + "# Here, we will first make one long line ...\n", + "sentence = 'weaving with words and code'\n", + "line = ''\n", + "for x in range(100):\n", + " line += sentence\n", + " line += ' ' * x" + ] + }, + { + "cell_type": "code", + "execution_count": 23, + "metadata": { + "scrolled": true + }, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "weaving with words and codeweaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code weaving with words and code \n" + ] + } + ], + "source": [ + "print(line)" + ] + }, + { + "cell_type": "code", + "execution_count": 59, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "weaving with words and codeweaving with words and code weaving with words and code weaving with wo\n", + "ds and code weaving with words and code weaving with words and code weaving with words and\n", + "code weaving with words and code weaving with words and code weaving with words a\n", + "d code weaving with words and code weaving with words and code weaving w\n", + "th words and code weaving with words and code weaving with words and code \n", + " weaving with words and code weaving with words and code weav\n", + "ng with words and code weaving with words and code weaving with wo\n", + "ds and code weaving with words and code weaving with words and\n", + "code weaving with words and code weaving with words and co\n", + "e weaving with words and code weaving with words and c\n", + "de weaving with words and code weaving with words \n", + "nd code weaving with words and code weaving wi\n", + "h words and code weaving with words and code \n", + " weaving with words and code weaving with words and code \n", + " weaving with words and code weaving with words a\n", + "d code weaving with words and code \n", + " weaving with words and code weaving with words and code \n", + " weaving with words and code weavi\n", + "g with words and code weaving with words and code \n", + " weaving with words and code weav\n", + "ng with words and code weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code weaving with words and\n", + "code weaving with words and code \n", + " weaving with words and code \n", + "eaving with words and code weaving with words and c\n", + "de weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code weaving wi\n", + "h words and code weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code weaving w\n", + "th words and code weaving with words and\n", + "code weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + "weaving with words and code \n", + "eaving with words and code \n", + "eaving with words and code \n", + "weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and\n", + "code weaving w\n", + "th words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving wi\n", + "h words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and code \n", + " weaving with words and c\n", + "de \n", + "eaving with words and code \n", + " weaving with words and code \n" + ] + } + ], + "source": [ + "# ... and then cut it up into lines of 100 characters, to show the pattern nicely, \n", + "tmp_line = ''\n", + "for character in line:\n", + " if len(tmp_line) < 99:\n", + " tmp_line += character\n", + " else: \n", + " print(tmp_line)\n", + " tmp_line = ''\n", + " count = 0" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": 20, + "metadata": {}, + "outputs": [], + "source": [ + "# Try to make some more patterns!" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + } + ], + "metadata": { + "kernelspec": { + "display_name": "Python 3", + "language": "python", + "name": "python3" + }, + "language_info": { + "codemirror_mode": { + "name": "ipython", + "version": 3 + }, + "file_extension": ".py", + "mimetype": "text/x-python", + "name": "python", + "nbconvert_exporter": "python", + "pygments_lexer": "ipython3", + "version": "3.7.3" + } + }, + "nbformat": 4, + "nbformat_minor": 4 +} diff --git a/RESURGENCE/patterns-searching-for.ipynb b/RESURGENCE/patterns-searching-for.ipynb new file mode 100644 index 0000000..4d3d42c --- /dev/null +++ b/RESURGENCE/patterns-searching-for.ipynb @@ -0,0 +1,1580 @@ +{ + "cells": [ + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "# Patterns (part 2)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## Searching for patterns" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "For this Notebook, we will use snippets from *Language and Software Studies*: https://monoskop.org/images/f/f9/Cramer_Florian_Anti-Media_Ephemera_on_Speculative_Arts_2013.pdf#142, a text by Florian Cramer written in 2005.\n", + "\n", + "Published in the book *Anti Media* (2013): https://monoskop.org/log/?p=20259" + ] + }, + { + "cell_type": "code", + "execution_count": 14, + "metadata": {}, + "outputs": [], + "source": [ + "lines = [\n", + " 'Software and language are intrinsically related, since software may process language, and is constructed in language.',\n", + " 'Yet language means different things in the context of computing: formal languages in which algorithms are expressed and software is implemented, and in so-called “natural” spoken languages.',\n", + " 'There are at least two layers of formal language in software: programming language in which the software is written, and the language implemented within the software as its symbolic controls.',\n", + " 'In the case of compilers, shells, and macro languages, for example, these layers can overlap.',\n", + " '“Natural” language is what can be processed as data by software; since this processing is formal, however, it is restricted to syntactical operations.'\n", + "]" + ] + }, + { + "cell_type": "code", + "execution_count": 15, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "-----\n", + "Software and language are intrinsically related, since software may process language, and is constructed in language.\n", + "-----\n", + "Yet language means different things in the context of computing: formal languages in which algorithms are expressed and software is implemented, and in so-called “natural” spoken languages.\n", + "-----\n", + "There are at least two layers of formal language in software: programming language in which the software is written, and the language implemented within the software as its symbolic controls.\n", + "-----\n", + "“Natural” language is what can be processed as data by software; since this processing is formal, however, it is restricted to syntactical operations.\n" + ] + } + ], + "source": [ + "for line in lines:\n", + " if 'software' in line:\n", + " print('-----')\n", + " print(line)" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": 16, + "metadata": {}, + "outputs": [], + "source": [ + "lines = [\n", + " 'Software and language are intrinsically related.',\n", + " 'Yet language means different things in the context of computing.',\n", + " 'There are at least two layers of formal language in software.',\n", + " 'These layers can overlap.',\n", + " '“Natural” language is what can be processed as data by software..'\n", + "]" + ] + }, + { + "cell_type": "code", + "execution_count": 17, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "-----\n", + "There are at least two layers of formal language in software.\n", + "-----\n", + "“Natural” language is what can be processed as data by software..\n" + ] + } + ], + "source": [ + "for line in lines:\n", + " if 'software' in line:\n", + " print('-----')\n", + " print(line)" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": 20, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "-----\n", + "Software and language are intrinsically related.\n", + "-----\n", + "There are at least two layers of formal language in software.\n", + "-----\n", + "“Natural” language is what can be processed as data by software..\n" + ] + } + ], + "source": [ + "# Software != software\n", + "for line in lines:\n", + " if 'software' in line.lower():\n", + " print('-----')\n", + " print(line)" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## Software != software" + ] + }, + { + "cell_type": "code", + "execution_count": 27, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "Nope, not the same...\n" + ] + } + ], + "source": [ + "a = 'software'\n", + "b = 'Software'\n", + "if a == b:\n", + " print('They are the same!')\n", + "else:\n", + " print('Nope, not the same...')" + ] + }, + { + "cell_type": "code", + "execution_count": 28, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "'SOFTWARE'" + ] + }, + "execution_count": 28, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "a.upper()" + ] + }, + { + "cell_type": "code", + "execution_count": 70, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "'software'" + ] + }, + "execution_count": 70, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "b.lower()" + ] + }, + { + "cell_type": "code", + "execution_count": 29, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "'Software'" + ] + }, + "execution_count": 29, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "a.capitalize()" + ] + }, + { + "cell_type": "code", + "execution_count": 31, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "'Software And Language Are Intrinsically Related.'" + ] + }, + "execution_count": 31, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "lines[0].title()" + ] + }, + { + "cell_type": "code", + "execution_count": 33, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "'sOFTWARE'" + ] + }, + "execution_count": 33, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "b.swapcase()" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## From string to lines: split()" + ] + }, + { + "cell_type": "code", + "execution_count": 119, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "Software and language are intrinsically related, since software may process language, and is constructed in language. Yet language means different things in the context of computing: formal languages in which algorithms are expressed and software is implemented, and in so-called “natural” spoken languages. There are at least two layers of formal language in software: programming language in which the software is written, and the language implemented within the software as its symbolic controls. In the case of compilers, shells, and macro languages, for example, these layers can overlap. “Natural” language is what can be processed as data by software; since this processing is formal, however, it is restricted to syntactical operations.\n" + ] + } + ], + "source": [ + "txt = 'Software and language are intrinsically related, since software may process language, and is constructed in language. Yet language means different things in the context of computing: formal languages in which algorithms are expressed and software is implemented, and in so-called “natural” spoken languages. There are at least two layers of formal language in software: programming language in which the software is written, and the language implemented within the software as its symbolic controls. In the case of compilers, shells, and macro languages, for example, these layers can overlap. “Natural” language is what can be processed as data by software; since this processing is formal, however, it is restricted to syntactical operations.'\n", + "print(txt)" + ] + }, + { + "cell_type": "code", + "execution_count": 126, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "---\n", + "Software and language are intrinsically related, since software may process language, and is constructed in language\n", + "---\n", + "Yet language means different things in the context of computing: formal languages in which algorithms are expressed and software is implemented, and in so-called “natural” spoken languages\n", + "---\n", + "There are at least two layers of formal language in software: programming language in which the software is written, and the language implemented within the software as its symbolic controls\n", + "---\n", + "In the case of compilers, shells, and macro languages, for example, these layers can overlap\n", + "---\n", + "“Natural” language is what can be processed as data by software; since this processing is formal, however, it is restricted to syntactical operations.\n" + ] + } + ], + "source": [ + "lines = txt.split('. ')\n", + "for line in lines:\n", + " print('---')\n", + " print(line)" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## From lines to string: ' '.join()" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [ + "lines = [\n", + " 'Software and language are intrinsically related.',\n", + " 'Yet language means different things in the context of computing.',\n", + " 'There are at least two layers of formal language in software.',\n", + " 'These layers can overlap.',\n", + " '“Natural” language is what can be processed as data by software..'\n", + "]" + ] + }, + { + "cell_type": "code", + "execution_count": 130, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "Software and language are intrinsically related, since software may process language, and is constructed in language ----- Yet language means different things in the context of computing: formal languages in which algorithms are expressed and software is implemented, and in so-called “natural” spoken languages ----- There are at least two layers of formal language in software: programming language in which the software is written, and the language implemented within the software as its symbolic controls ----- In the case of compilers, shells, and macro languages, for example, these layers can overlap ----- “Natural” language is what can be processed as data by software; since this processing is formal, however, it is restricted to syntactical operations.\n" + ] + } + ], + "source": [ + "txt = ' ----- '.join(lines)\n", + "print(txt)" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "---------------------------------------" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## From string to words: split(), strip()" + ] + }, + { + "cell_type": "code", + "execution_count": 55, + "metadata": { + "scrolled": true + }, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "Software\n", + "and\n", + "language\n", + "are\n", + "intrinsically\n", + "related,\n", + "since\n", + "software\n", + "may\n", + "process\n", + "language,\n", + "and\n", + "is\n", + "constructed\n", + "in\n", + "language.\n", + "Yet\n", + "language\n", + "means\n", + "different\n", + "things\n", + "in\n", + "the\n", + "context\n", + "of\n", + "computing:\n", + "formal\n", + "languages\n", + "in\n", + "which\n", + "algorithms\n", + "are\n", + "expressed\n", + "and\n", + "software\n", + "is\n", + "implemented,\n", + "and\n", + "in\n", + "so-called\n", + "“natural”\n", + "spoken\n", + "languages.\n", + "There\n", + "are\n", + "at\n", + "least\n", + "two\n", + "layers\n", + "of\n", + "formal\n", + "language\n", + "in\n", + "software:\n", + "programming\n", + "language\n", + "in\n", + "which\n", + "the\n", + "software\n", + "is\n", + "written,\n", + "and\n", + "the\n", + "language\n", + "implemented\n", + "within\n", + "the\n", + "software\n", + "as\n", + "its\n", + "symbolic\n", + "controls.\n", + "In\n", + "the\n", + "case\n", + "of\n", + "compilers,\n", + "shells,\n", + "and\n", + "macro\n", + "languages,\n", + "for\n", + "example,\n", + "these\n", + "layers\n", + "can\n", + "overlap.\n", + "“Natural”\n", + "language\n", + "is\n", + "what\n", + "can\n", + "be\n", + "processed\n", + "as\n", + "data\n", + "by\n", + "software;\n", + "since\n", + "this\n", + "processing\n", + "is\n", + "formal,\n", + "however,\n", + "it\n", + "is\n", + "restricted\n", + "to\n", + "syntactical\n", + "operations.\n" + ] + } + ], + "source": [ + "lines = [\n", + " 'Software and language are intrinsically related, since software may process language, and is constructed in language.',\n", + " 'Yet language means different things in the context of computing: formal languages in which algorithms are expressed and software is implemented, and in so-called “natural” spoken languages.',\n", + " 'There are at least two layers of formal language in software: programming language in which the software is written, and the language implemented within the software as its symbolic controls.',\n", + " 'In the case of compilers, shells, and macro languages, for example, these layers can overlap.',\n", + " '“Natural” language is what can be processed as data by software; since this processing is formal, however, it is restricted to syntactical operations.'\n", + "]\n", + "storage = []\n", + "for line in lines:\n", + " words = line.split()\n", + " for word in words:\n", + " #word = word.strip('.,:;')\n", + " print(word)\n", + " storage.append(word)" + ] + }, + { + "cell_type": "code", + "execution_count": 69, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['Software', 'and', 'language', 'are', 'intrinsically', 'related,', 'since', 'software', 'may', 'process', 'language,', 'and', 'is', 'constructed', 'in', 'language.', 'Yet', 'language', 'means', 'different', 'things', 'in', 'the', 'context', 'of', 'computing:', 'formal', 'languages', 'in', 'which', 'algorithms', 'are', 'expressed', 'and', 'software', 'is', 'implemented,', 'and', 'in', 'so-called', '“natural”', 'spoken', 'languages.', 'There', 'are', 'at', 'least', 'two', 'layers', 'of', 'formal', 'language', 'in', 'software:', 'programming', 'language', 'in', 'which', 'the', 'software', 'is', 'written,', 'and', 'the', 'language', 'implemented', 'within', 'the', 'software', 'as', 'its', 'symbolic', 'controls.', 'In', 'the', 'case', 'of', 'compilers,', 'shells,', 'and', 'macro', 'languages,', 'for', 'example,', 'these', 'layers', 'can', 'overlap.', '“Natural”', 'language', 'is', 'what', 'can', 'be', 'processed', 'as', 'data', 'by', 'software;', 'since', 'this', 'processing', 'is', 'formal,', 'however,', 'it', 'is', 'restricted', 'to', 'syntactical', 'operations.']\n" + ] + } + ], + "source": [ + "# Bag of words\n", + "print(storage)" + ] + }, + { + "cell_type": "code", + "execution_count": 57, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "6" + ] + }, + "execution_count": 57, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "storage.count('language')" + ] + }, + { + "cell_type": "code", + "execution_count": 59, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "language\n", + "language,\n", + "language.\n", + "language\n", + "languages\n", + "languages.\n", + "language\n", + "language\n", + "language\n", + "languages,\n", + "language\n" + ] + } + ], + "source": [ + "for word in storage:\n", + " if 'language' in word:\n", + " print(word)" + ] + }, + { + "cell_type": "code", + "execution_count": 64, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "programming\n", + "processing\n" + ] + } + ], + "source": [ + "for word in storage:\n", + " if word.endswith('ing'):\n", + " print(word)" + ] + }, + { + "cell_type": "code", + "execution_count": 67, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "is\n", + "in\n", + "in\n", + "of\n", + "in\n", + "is\n", + "in\n", + "at\n", + "of\n", + "in\n", + "in\n", + "is\n", + "as\n", + "In\n", + "of\n", + "is\n", + "be\n", + "as\n", + "by\n", + "is\n", + "it\n", + "is\n", + "to\n" + ] + } + ], + "source": [ + "for word in storage:\n", + " if len(word) < 3:\n", + " print(word)" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": 66, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "operations. language\n", + "Software language,\n", + "and language.\n", + "language language\n", + "are languages\n", + "intrinsically languages.\n", + "related, language\n", + "since language\n", + "software language\n", + "may languages,\n", + "process language\n" + ] + } + ], + "source": [ + "# Extra: print previous or next words in the storage list\n", + "count = 0\n", + "for word in storage:\n", + " if 'language' in word:\n", + " type_of_language = storage[count - 1] \n", + " print(type_of_language, word)\n", + " count += 1" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "-----------------------------------------" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## open(), read(), readlines()" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "Let's work with some more lines.\n", + "\n", + "We will use the plain text version of this text for it." + ] + }, + { + "cell_type": "code", + "execution_count": 72, + "metadata": { + "scrolled": true + }, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "Language\n", + "\n", + "Florian Cramer \n", + "\n", + "Software and language are intrinsically related, since software may process language, and is constructed in language.\n", + "Yet language means different things in the context of computing: formal languages in which algorithms are expressed and software is implemented, and in so-called “natural” spoken languages.\n", + "There are at least two layers of formal language in software: programming language in which the software is written, and the language implemented within the software as its symbolic controls.\n", + "In the case of compilers, shells, and macro languages, for example, these layers can overlap.\n", + "“Natural” language is what can be processed as data by software; since this processing is formal, however, it is restricted to syntactical operations.\n", + "While differentiation of computer programming languages as “artificial languages” from languages like English as “natural languages” is conceptually important and undisputed, it remains problematic in its pure terminology: There is nothing “natural” about spoken language; it is a cultural construct and thus just as “artificial” as any formal machine control language.\n", + "To call programming languages “machine languages” doesn’t solve the problem either, as it obscures that “machine languages” are human creations.\n", + "High-level machine-independent programming languages such as Fortran, C, Java, and Basic are not even direct mappings of machine logic.\n", + "If programming languages are human languages for machine control, they could be called cybernetic languages.\n", + "But these languages can also be used outside machines—in programming handbooks, for example, in programmer’s dinner table jokes, or as abstract formal languages for expressing logical constructs, such as in Hugh Kenner’s use of the Pascal programming language to explain aspects of the structure of Samuel Beckett’s writing.1 In this sense, computer control languages could be more broadly defined as syntactical languages as opposed to semantic languages.\n", + "But this terminology is not without its problems either.\n", + "Common languages like English are both formal and semantic; although their scope extends beyond the formal, anything that can be expressed in a computer control language can also be expressed in common language.\n", + "It follows that computer control languages are a formal (and as such rather primitive) subset of common human languages.\n", + "To complicate things even further, computer science has its own understanding of “operational semantics” in programming languages, for example in the construction of a programming language interpreter or compiler.\n", + "Just as this interpreter doesn’t perform “interpretations” in a hermeneutic sense of semantic text explication, the computer science notion of “semantics” defies linguistic and common sense understanding of the word, since compiler construction is purely syntactical, and programming languages denote nothing but syntactical manipulations of symbols.\n", + "What might more suitably be called the semantics of computer control languages resides in the symbols with which those operations are denoted in most programming languages: English words like “if,” “then,” “else,” “for,” “while,” “goto,” and “print,” in conjunction with arithmetical and punctuation symbols; in alphabetic software controls, words like “list,” “move,” “copy,” and “paste”; in graphical software controls, such as symbols like the trash can.\n", + "Ferdinand de Saussure states that the signs of common human language are arbitrary2 because it’s purely a cultural-social convention that assigns phonemes to concepts.\n", + "Likewise, it’s purely a cultural convention to assign symbols to machine operations.\n", + "But just as the cultural choice of phonemes in spoken language is restrained by what the human voice can pronounce, the assignment of symbols to machine operations is limited to what can be efficiently processed by the machine and of good use to humans.3 This compromise between operability and usability is obvious in, for example, Unix commands.\n", + "Originally used on teletype terminals, the operation “copy” was abbreviated to the command “cp,” “move” to “mv,” “list” to “ls,” etc., in order to cut down machine memory use, teletype paper consumption, and human typing effort at the same time.\n", + "Any computer control language is thus a cultural compromise between the constraints of machine design—which is far from objective, but based on human choices, culture, and thinking style itself 4—and the equally subjective user preferences, involving fuzzy factors like readability, elegance, and usage efficiency.\n", + "The symbols of computer control languages inevitably do have semantic connotations simply because there exist no symbols with which humans would not associate some meaning.\n", + "But symbols can’t denote any semantic statements, that is, they do not express meaning in their own terms; humans metaphorically read meaning into them through associations they make.\n", + "Languages without semantic denotation are not historically new phenomena; mathematical formulas are their oldest example.\n", + "In comparison to common human languages, the multitude of programming languages is of lesser significance.\n", + "The criterion of Turing completeness of a programming language, that is, that any computation can be expressed in it, means that every programming language is, formally speaking, just a riff on every other programming language.\n", + "Nothing can be expressed in a Turingcomplete language such as C that couldn’t also be expressed in another Turingcomplete language such as Lisp (or Fortran, Smalltalk, Java ...) and vice versa.\n", + "This ultimately proves the importance of human and cultural factors in programming languages: while they are interchangeable in regard to their control of machine functions, their different structures—semantic descriptors, grammar and style in which algorithms can be expressed—lend themselves not only to different problem sets, but also to different styles of thinking.\n", + "Just as programming languages are a subset of common languages, Turingincomplete computer control languages are a constrained subset of Turingcomplete languages.\n", + "This prominently includes markup languages (such as HTML), file formats, network protocols, and most user controls (see the entry “Interface”) of computer programs.\n", + "In most cases, languages of this type are restrained from denoting algorithmic operations for computer security reasons—to prevent virus infection and remote takeover.\n", + "This shows how the very design of a formal language is a design for machine control.\n", + "Access to hardware functions is limited not only through the software application, but through the syntax the software application may use for storing and transmitting the information it processes.\n", + "To name one computer control language a “programming language,” another a “protocol,” and yet another a “file format” is merely a convention, a nomenclature indicating different degrees of syntactic restraint built into the very design of a computer control language.\n", + "In its most powerful Turing-complete superset, computer control language is language that executes.\n", + "As with magical and speculative concepts of language, the word automatically performs the operation.\n", + "Yet this is not to be confused with what linguistics calls a “performative” or “illocutionary” speech act, for example, the words of a judge who pronounces a verdict, a leader giving a command, or a legislator passing a law.\n", + "The execution of computer control languages is purely formal; it is the manipulation of a machine, not a social performance based on human conventions such as accepting a verdict.\n", + "Computer languages become performative only through the social impact of the processes they trigger, especially when their outputs aren’t critically checked.\n", + "Joseph Weizenbaum’s software psychotherapist Eliza, a simple program that syntactically transforms input phrases, is a classical example,5 as is the 1987 New York Stock Exchange crash that involved a chain reaction of “sell” recommendations by day trading software.6 Writing in a computer programming language is phrasing instructions for an utter idiot.\n", + "The project of Artificial Intelligence is to prove that intelligence is just a matter of a sufficiently massive layering of foolproof recipes—in linguistic terms, that semantics is nothing else but (more elaborate) syntax.\n", + "As long as A.I.\n", + "fails to deliver this proof, the difference between common languages and computer control languages continues to exist, and language processing through computers remains restrained to formal string manipulations, a fact that after initial enthusiasm has made many experimental poets since the 1950s abandon their experiments with computer-generated texts.7 The history of computing is rich with confusions of formal with common human languages, and false hopes and promises that formal languages would become more like common human languages.\n", + "Among the unrealized hopes are artificial intelligence, graphical user interface design with its promise of an “intuitive” or, to use Jef Raskin’s term, “humane interface,”8 and major currents of digital art.\n", + "Digital installation art typically misperceives its programmed behaviorist black boxes as “interactive,” and some digital artists are caught in the misconception that they can overcome what they see as the Western male binarism of computer languages by reshaping them after romanticized images of indigenous human languages.\n", + "The digital computer is a symbolic machine that computes syntactical language and processes alphanumerical symbols; it treats all data—including images and sounds—as textual, that is, as chunks of coded symbols.\n", + "Nelson Goodman’s criteria of writing as “disjunct” and “discrete,” or consisting of separate single entities that differ from other separate single entities, also applies to digital files.9 The very meaning of “digitization” is to structure analog data as numbers and store them as numerical texts composed of discrete parts.\n", + "All computer software controls are linguistic regardless of their perceivable shape, alphanumerical writing, graphics, sound signals, or whatever else.\n", + "The Unix command “rm file” is operationally identical to dragging the file into the trashcan on a desktop.\n", + "Both are just different encodings for the same operation, just as alphabetic language and morse beeps are different encodings for the same characters.\n", + "As a symbolic handle, this encoding may enable or restrain certain uses of the language.\n", + "In this respect, the differences between ideographic-pictorial and abstract-symbolic common languages also apply to computer control languages.\n", + "Pictorial symbols simplify control languages through predefined objects and operations, but make it more difficult to link them through a grammar and thus express custom operations.\n", + "Just as a pictogram of a house is easier to understand than the letters h-o-u-s-e, the same is true for the trashcan icon in comparison to the “rm” command.\n", + "But it is difficult to precisely express the operation “If I am home tomorrow at six, I will clean up every second room in the house” through a series of pictograms.\n", + "Abstract, grammatical alphanumeric languages are more suitable for complex computational instructions.10 The utopia of a universal pictorial computer control language (with icons, windows, and pointer operations) is a reenactment of the rise and eventual fall of universal pictorial language utopias in the Renaissance, from Tommaso Campanella’s “Città del sole” to Comenius’ “Orbis pictus”—although the modern project of expressing only machine operations in pictograms was less ambitious.\n", + "The converse to utopian language designs occurs when computer control languages get appropriated and used informally in everyday culture.\n", + "Jonathan Swift tells how scientists on the flying island of Lagado “would, for example, praise the beauty of a woman, or any other animal ... by rhombs, circles, parallelograms, ellipses, and other “geometrical terms.” 11 Likewise, there is programming language poetry which, unlike most algorithmic poetry, writes its program source as the poetical work, or crossbreeds cybernetic with common human languages.\n", + "These “code poems” or “codeworks” often play with the interference between human agency and programmed processes in computer networks.\n", + "In computer programming and computer science, “code” is often understood either as a synonym of computer programming language or as a text written in such a language.\n", + "This modern usage of the term “code” differs from the traditional mathematical and cryptographic notion of code as a set of formal transformation rules that transcribe one group of symbols to another group of symbols, for example, written letters into morse beeps.\n", + "The translation that occurs when a text in a programming language gets compiled into machine instructions is not an encoding in this sense because the process is not oneto-one reversible.\n", + "This is why proprietary software companies can keep their source “code” secret.\n", + "It is likely that the computer cultural understanding of “code” is historically derived from the name of the first high-level computer programming language, “Short Code” from 1950.12 The only programming language that is a code in the original sense is assembly language, the human- readable mnemonic one-to-one representation of processor instructions.\n", + "Conversely, those instructions can be coded back, or “disassembled,” into assembly language.\n", + "Software as a whole is not only “code” but a symbolic form involving cultural practices of its employment and appropriation.\n", + "But since writing in a computer control language is what materially makes up software, critical thinking about computers is not possible without an informed understanding of the structural formalism of its control languages.\n", + "Artists and activists since the French Oulipo poets and the MIT hackers in the 1960s have shown how their limitations can be embraced as creative challenges.\n", + "Likewise, it is incumbent upon critics to reflect the sometimes more and sometimes less amusing constraints and game rules computer control languages write into culture.\n", + "\n", + "Notes \n", + "\n", + "1. Hugh Kenner, “Beckett Thinking,” in Hugh Kenner, The Mechanic Muse, 83–107.\n", + "2. Ferdinand de Saussure, Course in General Linguistics, ”Chapter I: Nature of the Linguistic Sign.” \n", + "3. See the section, “Saussurean Signs and Material Matters,” in N. Katherine Hayles, My Mother Was a Computer, 42–45.\n", + "4. For example, Steve Wozniak’s design of the Apple I mainboard was consijdered “a beautiful work of art” in its time according to Steven Levy, Insanely Great: The Life and Times of Macintosh, 81. \n", + "5. Joseph Weizenbaum, “ELIZA—A Computer Program for the Study of Natural Language Communication between Man and Machine.” \n", + "6. Marsha Pascual, “Black Monday, Causes and Effects.”\n", + "7. Among them concrete poetry writers, French Oulipo poets, the German poet Hans Magnus Enzensberger, and the Austrian poets Ferdinand Schmatz and Franz Josef Czernin.\n", + "8. Jef Raskin, The Humane Interface: New Directions for Designing Interactive Systems.\n", + "9. According to Nelson Goodman’s definition of writing in The Languages of Art, 143.\n", + "10. Alan Kay, an inventor of the graphical user interface, conceded in 1990 that “it would not be surprising if the visual system were less able in this area than the mechanism that solve noun phrases for natural language. Although it is not fair to say that ‘iconic languages can’t work’ just because no one has been able to design a good one, it is likely that the above explanation is close to truth.” This status quo hasn’t changed since. Alan Kay, “User Interface: A Personal View,” in, Brenda Laurel ed. The Art of Human-Computer Interface Design, Reading: Addison Wesley, 1989, 203.\n", + "11. Swift, Jonathan, Gulliver’s Travels, Project Gutenberg Ebook, available at http:// www.gutenberg.org / dirs / extext197 / gltrv10.txt / .\n", + "12. See Wolfgang Hagen, “The Style of Source Codes.”\n", + "\n" + ] + } + ], + "source": [ + "# read()\n", + "filename = 'txt/language.txt'\n", + "txt = open(filename, 'r').read()\n", + "print(txt)" + ] + }, + { + "cell_type": "code", + "execution_count": 2, + "metadata": { + "scrolled": true + }, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['Language\\n', '\\n', 'Florian Cramer \\n', '\\n', 'Software and language are intrinsically related, since software may process language, and is constructed in language.\\n', 'Yet language means different things in the context of computing: formal languages in which algorithms are expressed and software is implemented, and in so-called “natural” spoken languages.\\n', 'There are at least two layers of formal language in software: programming language in which the software is written, and the language implemented within the software as its symbolic controls.\\n', 'In the case of compilers, shells, and macro languages, for example, these layers can overlap.\\n', '“Natural” language is what can be processed as data by software; since this processing is formal, however, it is restricted to syntactical operations.\\n', 'While differentiation of computer programming languages as “artificial languages” from languages like English as “natural languages” is conceptually important and undisputed, it remains problematic in its pure terminology: There is nothing “natural” about spoken language; it is a cultural construct and thus just as “artificial” as any formal machine control language.\\n', 'To call programming languages “machine languages” doesn’t solve the problem either, as it obscures that “machine languages” are human creations.\\n', 'High-level machine-independent programming languages such as Fortran, C, Java, and Basic are not even direct mappings of machine logic.\\n', 'If programming languages are human languages for machine control, they could be called cybernetic languages.\\n', 'But these languages can also be used outside machines—in programming handbooks, for example, in programmer’s dinner table jokes, or as abstract formal languages for expressing logical constructs, such as in Hugh Kenner’s use of the Pascal programming language to explain aspects of the structure of Samuel Beckett’s writing.1 In this sense, computer control languages could be more broadly defined as syntactical languages as opposed to semantic languages.\\n', 'But this terminology is not without its problems either.\\n', 'Common languages like English are both formal and semantic; although their scope extends beyond the formal, anything that can be expressed in a computer control language can also be expressed in common language.\\n', 'It follows that computer control languages are a formal (and as such rather primitive) subset of common human languages.\\n', 'To complicate things even further, computer science has its own understanding of “operational semantics” in programming languages, for example in the construction of a programming language interpreter or compiler.\\n', 'Just as this interpreter doesn’t perform “interpretations” in a hermeneutic sense of semantic text explication, the computer science notion of “semantics” defies linguistic and common sense understanding of the word, since compiler construction is purely syntactical, and programming languages denote nothing but syntactical manipulations of symbols.\\n', 'What might more suitably be called the semantics of computer control languages resides in the symbols with which those operations are denoted in most programming languages: English words like “if,” “then,” “else,” “for,” “while,” “goto,” and “print,” in conjunction with arithmetical and punctuation symbols; in alphabetic software controls, words like “list,” “move,” “copy,” and “paste”; in graphical software controls, such as symbols like the trash can.\\n', 'Ferdinand de Saussure states that the signs of common human language are arbitrary2 because it’s purely a cultural-social convention that assigns phonemes to concepts.\\n', 'Likewise, it’s purely a cultural convention to assign symbols to machine operations.\\n', 'But just as the cultural choice of phonemes in spoken language is restrained by what the human voice can pronounce, the assignment of symbols to machine operations is limited to what can be efficiently processed by the machine and of good use to humans.3 This compromise between operability and usability is obvious in, for example, Unix commands.\\n', 'Originally used on teletype terminals, the operation “copy” was abbreviated to the command “cp,” “move” to “mv,” “list” to “ls,” etc., in order to cut down machine memory use, teletype paper consumption, and human typing effort at the same time.\\n', 'Any computer control language is thus a cultural compromise between the constraints of machine design—which is far from objective, but based on human choices, culture, and thinking style itself 4—and the equally subjective user preferences, involving fuzzy factors like readability, elegance, and usage efficiency.\\n', 'The symbols of computer control languages inevitably do have semantic connotations simply because there exist no symbols with which humans would not associate some meaning.\\n', 'But symbols can’t denote any semantic statements, that is, they do not express meaning in their own terms; humans metaphorically read meaning into them through associations they make.\\n', 'Languages without semantic denotation are not historically new phenomena; mathematical formulas are their oldest example.\\n', 'In comparison to common human languages, the multitude of programming languages is of lesser significance.\\n', 'The criterion of Turing completeness of a programming language, that is, that any computation can be expressed in it, means that every programming language is, formally speaking, just a riff on every other programming language.\\n', 'Nothing can be expressed in a Turingcomplete language such as C that couldn’t also be expressed in another Turingcomplete language such as Lisp (or Fortran, Smalltalk, Java ...) and vice versa.\\n', 'This ultimately proves the importance of human and cultural factors in programming languages: while they are interchangeable in regard to their control of machine functions, their different structures—semantic descriptors, grammar and style in which algorithms can be expressed—lend themselves not only to different problem sets, but also to different styles of thinking.\\n', 'Just as programming languages are a subset of common languages, Turingincomplete computer control languages are a constrained subset of Turingcomplete languages.\\n', 'This prominently includes markup languages (such as HTML), file formats, network protocols, and most user controls (see the entry “Interface”) of computer programs.\\n', 'In most cases, languages of this type are restrained from denoting algorithmic operations for computer security reasons—to prevent virus infection and remote takeover.\\n', 'This shows how the very design of a formal language is a design for machine control.\\n', 'Access to hardware functions is limited not only through the software application, but through the syntax the software application may use for storing and transmitting the information it processes.\\n', 'To name one computer control language a “programming language,” another a “protocol,” and yet another a “file format” is merely a convention, a nomenclature indicating different degrees of syntactic restraint built into the very design of a computer control language.\\n', 'In its most powerful Turing-complete superset, computer control language is language that executes.\\n', 'As with magical and speculative concepts of language, the word automatically performs the operation.\\n', 'Yet this is not to be confused with what linguistics calls a “performative” or “illocutionary” speech act, for example, the words of a judge who pronounces a verdict, a leader giving a command, or a legislator passing a law.\\n', 'The execution of computer control languages is purely formal; it is the manipulation of a machine, not a social performance based on human conventions such as accepting a verdict.\\n', 'Computer languages become performative only through the social impact of the processes they trigger, especially when their outputs aren’t critically checked.\\n', 'Joseph Weizenbaum’s software psychotherapist Eliza, a simple program that syntactically transforms input phrases, is a classical example,5 as is the 1987 New York Stock Exchange crash that involved a chain reaction of “sell” recommendations by day trading software.6 Writing in a computer programming language is phrasing instructions for an utter idiot.\\n', 'The project of Artificial Intelligence is to prove that intelligence is just a matter of a sufficiently massive layering of foolproof recipes—in linguistic terms, that semantics is nothing else but (more elaborate) syntax.\\n', 'As long as A.I.\\n', 'fails to deliver this proof, the difference between common languages and computer control languages continues to exist, and language processing through computers remains restrained to formal string manipulations, a fact that after initial enthusiasm has made many experimental poets since the 1950s abandon their experiments with computer-generated texts.7 The history of computing is rich with confusions of formal with common human languages, and false hopes and promises that formal languages would become more like common human languages.\\n', 'Among the unrealized hopes are artificial intelligence, graphical user interface design with its promise of an “intuitive” or, to use Jef Raskin’s term, “humane interface,”8 and major currents of digital art.\\n', 'Digital installation art typically misperceives its programmed behaviorist black boxes as “interactive,” and some digital artists are caught in the misconception that they can overcome what they see as the Western male binarism of computer languages by reshaping them after romanticized images of indigenous human languages.\\n', 'The digital computer is a symbolic machine that computes syntactical language and processes alphanumerical symbols; it treats all data—including images and sounds—as textual, that is, as chunks of coded symbols.\\n', 'Nelson Goodman’s criteria of writing as “disjunct” and “discrete,” or consisting of separate single entities that differ from other separate single entities, also applies to digital files.9 The very meaning of “digitization” is to structure analog data as numbers and store them as numerical texts composed of discrete parts.\\n', 'All computer software controls are linguistic regardless of their perceivable shape, alphanumerical writing, graphics, sound signals, or whatever else.\\n', 'The Unix command “rm file” is operationally identical to dragging the file into the trashcan on a desktop.\\n', 'Both are just different encodings for the same operation, just as alphabetic language and morse beeps are different encodings for the same characters.\\n', 'As a symbolic handle, this encoding may enable or restrain certain uses of the language.\\n', 'In this respect, the differences between ideographic-pictorial and abstract-symbolic common languages also apply to computer control languages.\\n', 'Pictorial symbols simplify control languages through predefined objects and operations, but make it more difficult to link them through a grammar and thus express custom operations.\\n', 'Just as a pictogram of a house is easier to understand than the letters h-o-u-s-e, the same is true for the trashcan icon in comparison to the “rm” command.\\n', 'But it is difficult to precisely express the operation “If I am home tomorrow at six, I will clean up every second room in the house” through a series of pictograms.\\n', 'Abstract, grammatical alphanumeric languages are more suitable for complex computational instructions.10 The utopia of a universal pictorial computer control language (with icons, windows, and pointer operations) is a reenactment of the rise and eventual fall of universal pictorial language utopias in the Renaissance, from Tommaso Campanella’s “Città del sole” to Comenius’ “Orbis pictus”—although the modern project of expressing only machine operations in pictograms was less ambitious.\\n', 'The converse to utopian language designs occurs when computer control languages get appropriated and used informally in everyday culture.\\n', 'Jonathan Swift tells how scientists on the flying island of Lagado “would, for example, praise the beauty of a woman, or any other animal ... by rhombs, circles, parallelograms, ellipses, and other “geometrical terms.” 11 Likewise, there is programming language poetry which, unlike most algorithmic poetry, writes its program source as the poetical work, or crossbreeds cybernetic with common human languages.\\n', 'These “code poems” or “codeworks” often play with the interference between human agency and programmed processes in computer networks.\\n', 'In computer programming and computer science, “code” is often understood either as a synonym of computer programming language or as a text written in such a language.\\n', 'This modern usage of the term “code” differs from the traditional mathematical and cryptographic notion of code as a set of formal transformation rules that transcribe one group of symbols to another group of symbols, for example, written letters into morse beeps.\\n', 'The translation that occurs when a text in a programming language gets compiled into machine instructions is not an encoding in this sense because the process is not oneto-one reversible.\\n', 'This is why proprietary software companies can keep their source “code” secret.\\n', 'It is likely that the computer cultural understanding of “code” is historically derived from the name of the first high-level computer programming language, “Short Code” from 1950.12 The only programming language that is a code in the original sense is assembly language, the human- readable mnemonic one-to-one representation of processor instructions.\\n', 'Conversely, those instructions can be coded back, or “disassembled,” into assembly language.\\n', 'Software as a whole is not only “code” but a symbolic form involving cultural practices of its employment and appropriation.\\n', 'But since writing in a computer control language is what materially makes up software, critical thinking about computers is not possible without an informed understanding of the structural formalism of its control languages.\\n', 'Artists and activists since the French Oulipo poets and the MIT hackers in the 1960s have shown how their limitations can be embraced as creative challenges.\\n', 'Likewise, it is incumbent upon critics to reflect the sometimes more and sometimes less amusing constraints and game rules computer control languages write into culture.\\n', '\\n', 'Notes \\n', '\\n', '1. Hugh Kenner, “Beckett Thinking,” in Hugh Kenner, The Mechanic Muse, 83–107.\\n', '2. Ferdinand de Saussure, Course in General Linguistics, ”Chapter I: Nature of the Linguistic Sign.” \\n', '3. See the section, “Saussurean Signs and Material Matters,” in N. Katherine Hayles, My Mother Was a Computer, 42–45.\\n', '4. For example, Steve Wozniak’s design of the Apple I mainboard was consijdered “a beautiful work of art” in its time according to Steven Levy, Insanely Great: The Life and Times of Macintosh, 81. \\n', '5. Joseph Weizenbaum, “ELIZA—A Computer Program for the Study of Natural Language Communication between Man and Machine.” \\n', '6. Marsha Pascual, “Black Monday, Causes and Effects.”\\n', '7. Among them concrete poetry writers, French Oulipo poets, the German poet Hans Magnus Enzensberger, and the Austrian poets Ferdinand Schmatz and Franz Josef Czernin.\\n', '8. Jef Raskin, The Humane Interface: New Directions for Designing Interactive Systems.\\n', '9. According to Nelson Goodman’s definition of writing in The Languages of Art, 143.\\n', '10. Alan Kay, an inventor of the graphical user interface, conceded in 1990 that “it would not be surprising if the visual system were less able in this area than the mechanism that solve noun phrases for natural language. Although it is not fair to say that ‘iconic languages can’t work’ just because no one has been able to design a good one, it is likely that the above explanation is close to truth.” This status quo hasn’t changed since. Alan Kay, “User Interface: A Personal View,” in, Brenda Laurel ed. The Art of Human-Computer Interface Design, Reading: Addison Wesley, 1989, 203.\\n', '11. Swift, Jonathan, Gulliver’s Travels, Project Gutenberg Ebook, available at http:// www.gutenberg.org / dirs / extext197 / gltrv10.txt / .\\n', '12. See Wolfgang Hagen, “The Style of Source Codes.”\\n']\n" + ] + } + ], + "source": [ + "# readlines()\n", + "filename = 'txt/language.txt'\n", + "lines = open(filename, 'r').readlines()\n", + "print(lines)" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "------------------------------------------" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## read() & readlines() from an etherpad" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "Let's also use another input source: an etherpad" + ] + }, + { + "cell_type": "code", + "execution_count": 5, + "metadata": { + "scrolled": true + }, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "XPUB 1\n", + "Post digital itch\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "SWARM\n", + "01\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "An annotated version of:\n", + "\n", + "Archive Fever: A Freudian Impression\n", + "Author(s): Jacques Derrida and Eric Prenowitz\n", + "Source: Diacritics, Vol. 25, No. 2 (Summer, 1995), pp. 9-63\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "\n", + "GLOSSARY OF TERMS\n", + "\n", + "1 Commencement\n", + "an act or instance of commencing; beginning.\n", + "\n", + "2 Commandment\n", + "a command or mandate.\n", + "\n", + "3 Ontological\n", + "of or relating to ontology, the branch of metaphysics that studies the nature of existence or being as such; metaphysical.\n", + "\n", + "4 Nomology\n", + "the science of law or laws.\n", + "\n", + "5 Arkhé\n", + "From ἄρχω (árkhō, “to begin”) +‎ -η (-ē, verbal noun suffix)\n", + "\t1. beginning, origin\n", + "\t2. sovereignty, dominion, authority (in plural: ἀρχαί)\n", + "\n", + "6 Jussive\n", + "form, mood, case, construction, or word expressing a command.\n", + "\n", + "7 Cleavage\n", + "the act of cleaving or splitting.\n", + "\n", + "8 Surreptitious\n", + "obtained, done, made, etc., by stealth; secret or unauthorized; clandestine.\n", + "\n", + "9 Physis\n", + "From φῠ́ω (phúō, “grow”) +‎ -σῐς (-sis).\n", + "\t1. origin, birth\n", + "\t2. nature, quality, property\n", + "\t3. later, the nature of one's personality: temper, disposition\n", + "\t4. form, shape\n", + "\t5. that which is natural: nature\n", + "\t6. type, kind\n", + "\t7. Nature, as an entity, especially of productive power\n", + "\t8. creature\n", + "\n", + "10 Thesis\n", + "From τίθημι (títhēmi, “I put, place”) +‎ -σις (-sis)\n", + "\t1. a setting, placement, arrangement\n", + "\t2. deposit\n", + "\t3. adoption (of a child)\n", + "\t4. adoption (in the more general sense of accepting as one's own)\n", + "\t5. (philosophy) position, conclusion, thesis\n", + "\t6. (dancing) putting down the foot\n", + "\t7. (metre) the last half of the foot\n", + "\t8. (rhetoric) affirmation\n", + "\t9. (grammar) stop\n", + " \n", + "11 Tekhné\n", + "From Proto-Indo-European *tetḱ- (“to create, produce”)\n", + "\t1. craft, skill, trade\n", + "\t2. art\n", + "\t3. cunning, wile\n", + "\t4. Means\n", + " \n", + "12 Nomos\n", + "From Ancient Greek νόμος (nómos)\n", + "\t1. The body of law, especially that governing human behaviour.\n", + "\t2. A territorial division of ancient Egypt; a nome.\n", + "\n", + "\n", + "13 Arkheion\n", + "Neuter of *ἀρχεῖος (arkheîos, “related to office”), from ἀρχή (arkhḗ, “office, government, rule”), from ἄρχω (árkhō, “to rule”) town-hall, residence, or office of chief magistrates\n", + " \n", + "14 Archon \n", + "( ancient gr ἄρχων) \n", + "- Ruler (In ancient Greece, one of the 9 chief magistrates of the city states. [from Greek arkhōn ruler, from arkhein to rule]\n", + "\n", + "15 Substrate\n", + "1. an underlying substance or layer;\n", + "2.In biology: a substance or surface which an organism grows and lives on and uses as food.;\n", + "\n", + "16 Hermeneutic\n", + "adjective- concerning interpretation, especially of the Bible or literary texts.\n", + "noun-a method or theory of interpretation.\n", + "\n", + "17 Domiciliation\n", + "the act of making a particular place your legal home or place of business \n", + "\n", + "18 Topology\n", + "From Ancient Greek τόπος (tópos, “place, locality”) + -(o)logy (“study of, a branch of knowledge”)\n", + "\n", + "19 Consignation\n", + "1. To give over to the care or custody of another.\n", + "2. a. To put in or assign to an unfavorable place, position, or condition: \"Their desponding imaginations had long since consigned him to a watery grave\" (William Hickling Prescott).\n", + "\tb. To set apart, as for a special use or purpose; assign: \"South American savannas [that are] now consigned to grazing\" (Eric Scigliano).\n", + "3. To deliver (merchandise, for example) for custody or sale.\n", + "\n", + "20 Insurmountable\n", + "Too great to be overcome.\n", + "\n", + "21 Moses as a \"historical noval\"\n", + "Refers to the book \"Moses and Monotheism\" by Sigmund Freud\n", + "Freud gives a new interputation to the story of Moses and the Hebrew slaves in Eygept.\n", + "In Freud's retelling of the events, Moses led only his close followers into freedom (during an unstable period in Egyptian history after Akhenaten's death ca.1350 BCE), that they subsequently killed the Egyptian Moses in rebellion, and still later joined with another monotheistic tribe in Midian who worshipped a volcano god called Yahweh. \n", + "Derrida uses this story as a case of sychoanlising a text.\n", + "\n", + "22 Exergue \n", + "(fr) \n", + "1. inscription, the initial part of a book which usually hosts a motto or a quotation; \n", + "2. the motto or the quotation itself; \n", + "3. in numismatics, the part of the coin that contains written informations.\n", + "\n", + "\n", + "PAGE 9/10\n", + "\n", + "\n", + "\n", + "Let us not begin at the beginning, nor even at the archive. But rather at the word \"archive\"-and with the archive of so familiar a word. Arkhe we recall, names at once the commencement [1]and the commandment[2]. This name apparently coordinates two principles in one: the principle according to nature or history, there where things commence-physical, historical, or ontological [3] principle-but also the principle according to the law, there where men and gods command, there where authority, social order are exercised, in this place from which order is given-nomological [4] principle. There, we said, and in thisplace. How are we to think of there? And this taking place or this having a place, this taking the place one has of the arkhe [5]? We have there two orders of order: sequential and jussive [6]. From this point on, a series of cleavages[7] will incessantly divide every atom of our lexicon. Already in the arkhe of the commencement, I alluded to the commencement according to nature or according to history, introducing surreptitiously [8]a chain of belated and problematic oppositions between physis[9] and its others, thesis[10], tekhne[11], nomos [12], etc., which are found to be at work in the other principle, the nomological principle of the arkhe, the principle of the commandment. All would be simple if there were one principle or two principles. All would be simple if the physis and each one of its others were one or two. As we have suspected for a long time, it is nothing of the sort, yet we are forever forgetting this. There is always more than one-and more or less than two. In the order of the commencement as well as in the order of the commandment. \n", + "\n", + "ἀρχή\n", + "Arkhe : arxḗ – properly, from the beginning (temporal sense), i.e. \"the initial (starting) point\"; (figuratively) what comes first and therefore is chief (foremost), i.e. has the priority because ahead of the rest (\"preeminent\").\n", + "\n", + "\t* The origin of archive is complex, and the meaning of the word has constantly been evolving since it first arose.\n", + "\t* The concept of archive is itself hard to archive.\n", + "\t* Chicken or egg? Did the concept of an archive come first or the act of archiving?\n", + "\t* Was the object of an archive already an archive before it was archived?\n", + "\t* An archive holds both, nomological and ontological aspects:\n", + "\t NOMOLOGICAL principle - law-like principle.\n", + "\t ONTOLOGICAL aspects - relating to or based upon being or existence.\n", + " \n", + " https://s3.amazonaws.com/s3.timetoast.com/public/uploads/photos/11887299/zpage102.gif\n", + "\n", + "The concept of the archive shelters in itself, of course, this memory of the name arkhe. But it also shelters itself from this memory which it shelters: which comes down to saying also that it forgets it. There is nothing accidental or surprising about this. Contrary to the impression one often has, such a concept is not easy to archive. One has trouble, and for essential reasons, establishing it and interpreting it in the document it delivers to us, here in the word which names it, that is the \"archive.\" In a way, the term indeed refers, as one would correctly believe, to the arkhe in the physical, historical, or ontological sense, which is to say to the originary, the first, the principial, the primitive, in short to the commencement. But even more, and even earlier, \"archive\" refers to the arkhe in the nomological sense, to the arkhe of the commandment. As is the case for the Latin archivum or archium (a word that is used in the singular, as was the French \"archive,\" formerly employed as a masculine singular: \"un archive\"), the meaning of \"archive,\" its only meaning, comes to it from the Greek arkheion[13]: initially a house, a domicile, an address, the residence of the superior magistrates, the archons[14], those who commanded. \n", + "\n", + "\t* Property x knowledge x power = Archive Party!!!!\n", + "\t* Concept of the archive contains (and conceals) the origin/predecessor of archive, thus archive's relation to power. \n", + "\t* Commencement and commandment - went from being the origin to being the actual action of archiving.\n", + "\t* The connection between knowledge and power is established - the action of archive came from a place of privilege.\n", + "\t* The action of archiving gives, and comes from, a position of power: An archive cannot exist unless it is in relation to power. \n", + "\t* The inforcement of interpretation, sourced from ideology (we are unconscious of it, it is a predjudice we all hold as truth).\n", + "\t* There can’t be an archive if there is no power. Must we remember this relation to power? Is this what the writer talks about when he says that the concept shelters itself? \n", + "\t* When the traumatic origin of the archive is unraveled, authority is challenged.\n", + "\t* An archivist needs to select and categorize and thus it is inescapable for an archive to be subjective/excluding.\n", + "\t* The archive thus always holds the power to frame material.\n", + "\t* Responsibility and agency of the archive; of the subjects that archive.\n", + "\t* Ideology: We are not consicous of it, it is a shared prejudice that we all hold, unaware of its posession.\n", + "\t* For the archive to forget its origin (ideology, contextual determinations) is a conveniance for the ones holding the power.\n", + "\n", + "https://main-designyoutrust.netdna-ssl.com/wp-content/uploads/2019/07/0-29.jpg?iv=110\n", + "The Banco di Napoli Historical Archives can be considered the largest archival collection of bank documents in the entire world. There are documents dating back to the middle of the 1500s to the present day.\n", + "\n", + "The citizens who thus held and signified political power were considered to [9 ---- 10] possess the right to make or to represent the law. On account of their publicly recognized authority, it is at their home, in that place which is their house (private house, family house, or employee's house), that official documents are filed. The archons are first of all the documents' guardians. They do not only ensure the physical security of what is deposited and of the substrate[15]. They are also accorded the hermeneutic [16]right and competence. They have the power to interpret the archives. Entrusted to such archons, these documents in effect state the law: they recall the law and call on or impose the law. To be guarded thus, in the jurisdiction of this stating the law, they needed at once a guardian and a localization. Even in their guardianship or their hermeneutic tradition, the archives could neither do without substrate nor without residence. \n", + "\t\n", + "\tARCHONTIC - Relating to an archon.\n", + "\tARCHON ( ancient gr ἄρχων) - Ruler (In ancient Greece, one of the 9 chief magistrates of the city states. [from Greek arkhōn ruler, from arkhein to rule]\n", + "\t\n", + "\t* To own the knowledge is to own the power.\n", + "\t* In the beginning of the word archive referred to archons who would file and store important documents in their own home.\n", + "\t* The archons were entrusted by the general public with storing important documents. They were guardians of the documents.\n", + "\t* They were considered to posess the right to make or represent the law: Kind of early politicians?\n", + "\n", + " HERMENEUTICS - is the theory and methodology of interpretation especially the interpretation of biblical texts, wisdom literature, and philosophical texts. Hermeneutics is more than interpretive principles or methods we resort to when immediate comprehension fails. Rather, hermeneutics is the art of understanding and of making oneself understood. (source: (Wikipedia)\n", + "\n", + "\t* Archon also has a negative, tyran-like connotation.\n", + "\t* Discourse producing its knowledge. As the archive. Hermeneutics - interpretation. A thing (concept) does not exist, until we say it does. Discourse meeting reality.\n", + "\t* Residence of the archive is its physical location.\n", + "\n", + "https://upload.wikimedia.org/wikipedia/commons/thumb/3/36/Tabularium_3D.jpg/800px-Tabularium_3D.jpg\n", + "\n", + "It is thus, in this domiciliation [17], in this house arrest, that archives take place. The dwelling, this place where they dwell permanently, marks this institutional passage from the private to the public, which does not always mean from the secret to the nonsecret. \n", + "\n", + "\n", + "\t* Transparency\n", + "\t* Secret as temporary, non-secret as permanent. The process of becoming public (demystification) is active. \n", + "\t* Collection vs. Archive (the word \"collection\" seems to be without a notion of power, an \"archive\" implies it has something to do with power)\n", + "\t* The beginning of archiving as an institutional practice. \n", + "\t* Arcons held political power and power to interpret the documents they were collecting, the documents which also determined the law. \n", + "\t* Archives change from a private - as in the homes of certain individuals (archon) - to a public matter. Being made available to the general public?\n", + "\t* The public archive vs where it is held (in a private home). How did they get the power to host it? \"According to Aristotle's Constitution of the Athenians, the power of the king first devolved to the archons, and these offices were filled from the aristocracy by elections every ten years.\"\n", + "\t* The passage from the domestic to the public = property + the edicts (hermeneutic tradition).\n", + "\t* Absence of the process of interpretation (the archon imposes the law as he had interpreted it, but we, as normal folks, have no idea on how he came to the conclusions.\n", + "\t* Causality: Cause (the law written) and effect (the law being exercised, a thief being punished) are clear, but the process in between those two is a mystery.\n", + "\t* The notion of the process going from private to public got lost because its not disclosed.\n", + "\t* It was still a very enclosed and intransparent matter - the internal processes were not disclosed.\n", + "\t* The action was not disclosed, only the results.\n", + "\t* Archives were made public but this was not not promulgated - not accessible for everyone.\n", + "\t* Still a private matter even though made public - as still stored in private places.\n", + "\t* private>public>nonsecret\n", + "\n", + "\n", + "(It is what is happening, right here, when a house, the Freuds' last house becomes a museum: the passage from one institution to another.) With such a status, the documents, which are not always discursive writings, are only kept and classified under the title of the archive by virtue of a privileged topology [18]. They inhabit this unusual place, this place of election where law and singularity intersect in privilege.\n", + "\n", + "\t* The Freud's last house is also the place where he did the 'talking cure', a home, a clinic, and an archive.\n", + "\t* Reference: Alternative ways of ordering knowledge: Aby Warburg (see also a 'gathering together of signs') on page 10.\n", + "\t* \"Virtue of a privileged topology \" connects the notion of \"situated knowledge\" that is defined as: \"what one knows or experiences reflects one's social, cultural, and historical location.\"\n", + "\t* Singularity of interpretation, as the documents are not \"discursive writings\", not all of the possible interpretations are possible (ever).\n", + "\t* Archived documents as an important basis for other textual work (glue).\n", + "\t* Election in the sence of \"the chosen ones\" - the elite, the ones that have the resources to form or inforce (general) opinions by managing knowledge constructing a version of really that is to be obeyed (nomology).\n", + "\t* \"...documents, which are not always discursive writings, are only kept and classified under the title of the archive by virtue of a priveleged topology.\" I compare this to museum archives, where the smallest sketches of a famous artist can be preserved, whereas works of lesser known artists (often artists of color, non-western artists, women artists) are frequently lost, because they aren't considered as worthy as even a small sketch made by Leonardo, for example.\n", + "\n", + "https://i0.wp.com/www.world-archaeology.com/wp-content/uploads/2019/09/Freud-Freud-Museum-London.-Freuds-study.-Photo-by-K.-Urbaniak-19.jpg?w=700&ssl=\n", + "http://www.ruthieosterman.com/wp-content/uploads/2014/03/rsz_img_1547.jpg\n", + "http://assets.londonist.com/uploads/2015/08/19998659773_a783845b56_b.jpg\n", + "\n", + "At the intersection of the topological and the nomological, of the place and the law, of the substrate and the authority, a scene of domiciliation becomes at once visible and invisible. \n", + "\n", + "\n", + "\t* Here, Derrida is referring to and enforcing the previous passage: \"The dwelling, this place where they dwell permanently, marks this institutional passage from the private to the public, which does not always mean from the secret to the nonsecret.\"\n", + "\t* The archive can be compared to the notion of a black box - we see its inputs and outputs, but not the actions within. The mechanisms within are invisible, visible only to the priviledged (the knowledgeable). (See also Flusser).\n", + "\t* \"Tales from another archive.\"\n", + "\n", + "\n", + "I stress this point for reasons which will, I hope, appear more clearly later. They all have to do with this topo-nomology, with this archontic dimension of domiciliation, with this archic, in truth patriarchic, function, without which no archive would ever come into play or appear as such. \n", + "\n", + "\t* Toponomology is the intersection between privilege and law. \n", + "\t* Archive (today mostly considered as an objective / a neutral instance) arose from a rather authoritarian history/concept.\n", + "\t* The burried memory of the archive - the one that can't remember its origins, as that would collide with its underlaying principles (the toponomology).\n", + "\t* Archives were, at the time, patriarchal.\n", + "\t* The patrirach refers to the material/the book/the law, he is the servant of it, \"it's not his fault\". lol\n", + "\t* Are all archives patrirachal? Is ideology patriarchal? Today?\n", + "\t* Yes, a lot of them are still.\n", + "\t* Today archives are often still connected to power. \n", + "\t* Will they be forever? The ones that take archiving in their own hands are also in a process of reclaiming the power.\n", + "\t* There is no neutral system.\n", + "\n", + "\n", + "To shelter itself and sheltered, to conceal itself. This archontic function is not solely topo-nomological. It does not only require that the archive be deposited somewhere, on a stable substrate, and at the disposition of a legitimate hermeneutic authority. The archontic power, which also gathers the functions of unification, of identification, of classification, must be paired with what we will call the power of consignation [19]. By consignation, we do not only mean, in the ordinary sense of the word, the act of assigning residence or of entrusting so as to put into reserve (to consign, to deposit), in a place and on a substrate, but here the act of consigning through gathering together signs. It is not only the traditional consignatio, that is, the written proof, but what all consignatio begins by presupposing. \n", + "\n", + "\t* \"To shelter itself and sheltered, to conceal itself.\" Talking about ideology that requires a collective loss of memory (already introduced on page 9).\n", + "\t* \"legitimate hermeneutic authority\": The one who who holds the power/is in the position (and has the authority) to interpret.\n", + "\t* Functions of hermeneutics (nomological principle) are: \"the functions of unification, of identification, of classification, ...\".\n", + "\t* The necessary loss of memory: the notion of forgetting is hard to archivist.\n", + "\t* \"gathering together signs\", position of power.\n", + "\t* Decolonizing the archive?\n", + "\t* \"Professional archivists have the power and authority to construct a dominant narrative on virtually any topic. Unfortunately, the archival world is built on a legacy of colonialism, appropriation, and community disenfranchisement. The power imbalance between archivists and the marginalized communities they often document leads to the dissemination of inaccurate and harmful accounts.\" Reference: http://unrh.org/decolonizing-the-archive/\n", + "\t* Don't take information for granted - question their context and reason for their selection/dissemination - consider all possible influences.\n", + "\t* Are archives necessarily patriarchal? This is how they started, but are they still? It is still connected to power - while maybe everyone can archive, some archives will be considered more “valid” then others, depending on who is the archivist.\n", + "\n", + "\n", + "\n", + "Consignation aims to coordinate a single corpus, in a system or a synchrony in which all the elements articulate the unity of an ideal configuration. In an archive, there should not be any absolute dissociation, any heterogeneity or secret which could separate (secernere), or partition, in an absolute manner. The archontic principle of the archive is also a principle of consignation, that is, of gathering together. \n", + "\n", + " • Taxonomy\n", + " • Consignation is related to the collection and ordering of signs (\"gathering together\") but it is also located in a desire to order. [Is this an assumption {presupposition} of what is the case. Does this aid the 'forgetfulness' of the archive's origin?]\n", + " • Consignation is a trick to make an illusion of unity.\n", + " • Consignation as the drive (the need) in contrast to chaos (or swarm) of data. \n", + " • Consignation gives order to things and thereby give birth to illegitimate power.\n", + " • Data and information are very different concepts, as data is the neutral basis for information.\n", + " • Systematization: the desire for order, management of complexity.\n", + " • GOOGLE = LAW [Re: archiving the self: Google - Facebook orders data into information. Reference: Boris Groys: Subjectivity as Medium of the Media, Radical Philosophy: https://www.radicalphilosophy.com/article/subjectivity-as-medium-of-the-media].\n", + "\n", + "Groys writes: \"The Hegelian servant subject builds a state – as a prison for its master, who is reduced to the role of a citizen under the control of law. The contemporary post-deconstructive, capitulated subject builds the Internet – as a prison for the traditional master subject of thinking being reduced to the role of a network user and ‘content provider’. Here, the servant subject gives up its own message and begins to serve the messages of the others – it becomes a server. It becomes Google, Facebook,Wikipedia and innumerable other Internet agencies. By doing so the capitulated, servant subject captures and puts all the ‘content providers’ – all the alleged masters of their messages – into the prison of media networks. Not accidentally, the individual sites on Facebook all look like epitaphs; and the whole network looks like a huge cemetery and, at the same time, like a forum for post-mortal, post-deconstructive conversations.\" \n", + "\n", + "Now, back to Derrida...\n", + " • The (Old) Greeks loved beauty, perfection... \n", + " • Desire is the drive that runs the consignation. Things can be interpreted (by psychoanalysis) through the subjective desire of the maker (the archeon, the power-holder).\n", + " • This is a subversive act. Instead of focusing only on the content of the archive, one interprets the maker, therefore, undermines/questions their authority, through the situated knowledge this kind of an investigation produces. \n", + " • The one that interprets these documents is the one that is making the rules. So, the act of gathering is an act of power too. So as a user of the archive you should be aware of the process that was behind it. \n", + " • Consignation is the illusion of uniting. Is it data or information? Consignation helps transit the archive from a source of data to a source of information. Derrida says this is an illusion.\n", + " • Who gets to articulate the laws? Don’t forget this, Derrida says, it should be criticized. The archive is affiliated with the institution which is never neutral. (Wikipedia is not created for the world where censorship exists. Sources and references are being deleted, writers being chased after, etc.)\n", + " • \"Archive\" vs \"the one that archives\".\n", + " • Can the internet be considered an archive?\n", + " • Shouldn't we be aware who own the platforms?\n", + " • Content must be categorized to be an archive. (Hashtags? Semantic web?)\n", + " • The difference between a collection and an archive: possessing power.\n", + " • Noun vs. verb: Archiving on the internet is endemic. We are all archiving!\n", + " • An archive has a set of procedures, strives for permanence. (But don't we all strive for permanence?)\n", + " • The human experience is very conditioned.\n", + "\n", + "\t CONSIGN (definitions): \n", + " ⁃ to hand over or deliver formally or officially; commit (often followed by to).\n", + " ⁃ to transfer to another's custody or charge; entrust.\n", + " ⁃ to set apart for or devote to (a special purpose or use): to consign two afternoons a week to the club.\n", + " ⁃ to banish or set apart in one's mind; relegate. \n", + "\n", + "\n", + "I't goes without saying from now on that wherever one could attempt, and in particular in Freudian psychoanalysis, to rethink the place and the law according to which the archontic becomes instituted, – (wherever one could interrogate or contest, directly or indirectly, this archontic principle, its authority, its titles, and its genealogy, the right that it commands, the legality or the legitimacy that depends on it, wherever secrets and heterogeneity would seem to menace even the possibility of consignation,) – this can only have grave consequences for a theory of the archive, as well as for its institutional implementation. [This paragraph has been repunctuated.]\n", + "\n", + " • The connection of archives to power, as well as people in power to select and interpret, poses a big risk for a society and for the concept of archives in general.\n", + " • Questioning of power articulating (interpreting) the laws. Critique is in place. To take it for granted, the theory of the archive is endangered. \n", + " • What is the psychology of the archive? Psychoanalysis can be used as a point of reference outside of ourselves; a tool to think with. \n", + " • Is the perpetually reflexive state of a human being possible? Cognitive philosophy + post-structuralism clash boom boom!!!!! \n", + " • When you set up an archive, making decisions on what you will and will not archive, you are essentially excluding something. Connection to power, to management of knowledge. Mirroring ideology or its opposition (as an activist archive).\n", + " • We should ask what is the psychology of the archive. There is a gestalt that is forced upon the archive.\n", + "\n", + "A science of the archive must include the theory of this institutionalization, that is to say, at once of the law which begins by inscribing itself there and of the right which authorizes it. This right imposes or supposes a bundle of limits which have a history, a deconstructable history, and to the deconstruction of which psychoanalysis has not been foreign, to say the least. \n", + "\n", + " • \"A science of the archive must include the theory of this institutionalization\" - Against the memory-loss.\n", + " • \"The law which begins by inscribing itself there and of the right which authorizes it.\" Here, speaking about commandement.\n", + " • Psychoanalysis is a tool to read 'desire'. You can psychoanalyse archives through the desire of the maker. What's the context of the maker as a person?\n", + " • Doing that threatens the theory of the archive as it takes away the objectivity. (And the power of subjective interpretation?)\n", + " • The authoriy of an archive is bound to the absence of its memory. But it is still neccessary to do it.\n", + " • There are different ways to psychoanalyse it. What is the desire here? Who is this person? What are his motives? Political view? Class? Where is he from?\n", + " • Psychoanalysis can backfire on the archive. These questions can strip it from it’s power and make it less legitimate. \n", + " • Maybe the word \"archive\" is still used with all its history even though modern archives challenge it. \n", + " • Curating. Museum collections. Archiving art, always from a context, institutionally created memory.\n", + " • Reference: Exhibition, Wes Anderson, Kunsthistorisches museum Vienna ([https://i-d.vice.com/en_us/article/nepwqx/wes-anderson-curated-an-exhibition-in-vienna-here-are-some-photos)\n", + " • Narratives are intuitive, the visitors/observers are challenged to imagine.\n", + "\n", + "\n", + "-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------\n", + "\n", + "\n", + "FOOTNOTE:\n", + "1. Of course, the question of a politics of the archive is our permanent orientation here, even if the time of a lecture does notpermit us to treat this directly and with examples. This question will never be determined as one political question among others. It runs through the whole of the field and in truth determines politics from top to bottom as res publica. There is no political power without control of the archive, if not of memory. Effective democratization can always be measured by this essential criterion: the participation in and the access to the archive, its constitution, and its interpretation. A contrario, the breaches of democracy can be measured by what a recent and in so many ways remarkable work entitles Forbidden Archives (Archives interdites: Les peurs frangaises face a l'histoire contemporaine). Under this title, which we cite as the metonymy of all that is important here, Sonia Combe does not only gather a considerable collection of material, to illuminate and interpret it; she asks numerous essential questions about the writing of history, about the \"repression\" of the archive [318], about the \"'repressed' archive\" as \"power... of the state over the historian\" [321]. Among all of these questions, and in referring the reader to this book, let us isolate here the one that is consonant, in a way, with the low tone of our hypothesis, even if this fundamental note, the patriarchive, never covers all the others. As if in passing, Sonia Combe asks in effect: \"I hope to be pardoned for granting some credit to the following observation, but it does not seem to me to be due to pure chance that the corporation of well-known historians of contemporary France is essentially, apart from a few exceptions, masculine.... But I hope to be understood also...\" [315]. \n", + "\n", + "\t* Psychoanalysis as a method means, that order can no longer be assured as authority is questioned.\n", + "\t* Is the archive a tool of power and hierarchy? \n", + "\t* \"There is no political power without control of the archive, if not of memory.\" - Power can apply either to people that are demystifying the archive, gaining awareness about its course of becoming (contextual and hermeneutic data/conditions) or to the actual archons (of today or of the past), the commanders that institute and enforce power by the control of memory, history, knowledge.\n", + "\t* What's the point of having the archive, if it does not function as a tool to gain power?\n", + "\t* Authority controls resources.\n", + "\t* We can’t detach the archive from politics and the long history behind it. For example, like many things, the history is very masculine and so are the archives therefore for sure excluding some types of information. \n", + "\t* Being impartial in the practice of archiving means at times, the archivist must consider documents of different weight on equal grounds. For example, edit wars in Wikipedia. Statements in Wikipedia pages need to be sourced. This creates a bias towards statements that align with the government's views, since content published by dissidents are systematically censored and taken off the internet. The concept of archive is also biased towards written cultures and languages.\n", + "\t* Can we have an impartial archive? The thing is you need resources to maintain it so can you get those resources and still be neutral?\n", + "\t* Not everything finds its way into the archive and it thereby never is impartial. You cannot have an apolitical / neutral archive. \n", + "\t* An archive will always display biases.\n", + "\t* Is it possible to archive responsibly, what would be the practice?\n", + "\t* Relates to the Pepsi Paloma (https://en.wikipedia.org/wiki/Pepsi_Paloma ) scandal.\n", + "\t* Reference: patriarchive blog: https://patriarchive.wordpress.com/about/\n", + "\n", + "\n", + "This deconstruction in progress concerns, as always, the institution of limits declared to be insurmountable [20],' whether they involve family or state [10 ---- 11] ... law, the relations between the secret and the nonsecret, or, and this is not the same thing, between the private and the public, whether they involve property or access rights, publication or reproduction rights, whether they involve classification and putting into order: What comes under theory or under private correspondence, for example? What comes under system? under biography or autobiography? under personal or intellectual anamnesis? In works said to be theoretical, what is worthy of this name and what is not? Should one rely on what Freud says about this to classify his works? Should one for example take him at his word when he presents his Moses as a \"historical novel\" [21]? In each of these cases, the limits, the borders, and the distinctions have been shaken by an earthquake from which no classificational concept and no implementation of the archive can be sheltered. Order is no longer assured. \n", + "\n", + "\t* \"Insurmountable\": too great to overcome.\n", + "\t* Moses brings laws, the 10 commandments from the mountain. He is a figure of nomology.\n", + "\t* \"Order is no longer assured.\" because authority/power is questioned. Nomological principle, its interpretation ceases to be valid. \n", + "\t* Forgetting history or power of knowledge? Would people get too empowered, it they would have the knowledge (of history)?\n", + "\t* [Moses-Ark-archive-covenent]\n", + "\t* Reference: Moses and Monotheism (1939) by Sigmund Freud: In which Freud gives a psychological interpretation of Michelangelo’s representation of Moses (“Der Moses des Michelangelo”) in terms of an exceptional and rational power of self-control over the passions, considering it the image of a hero of spirituality, ready to sacrifice his individual affective life to defend the fate of the people.\n", + "\n", + "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f4/%27Moses%27_by_Michelangelo_JBU310.jpg/480px-%27Moses%27_by_Michelangelo_JBU310.jpg\n", + "\n", + "\n", + "I dream now of having the time to submit for your discussion more than one thesis, three at least. This time will never be given to me. Above all, I will never have the right to take your time so as to impose upon you, rapid-fire, these three + n essays. Submitted to the test of your discussion, these theses thus remain, for the time being, hypotheses. Incapable of supporting their demonstration, constrained to posit them along the way in a mode which will appear at times dogmatic, I will recall them in a more critical and formal manner in conclusion. \n", + "\n", + "\n", + "\t* Introduction on what the author will talk about later in the text.\n", + "\n", + "\n", + "The hypotheses have a common trait. They all concern the impression left, in my opinion, by the Freudian signature on its own archive, on the concept of the archive and of archivization, that is to say also, inversely and as an indirect consequence, on historiography. Not only on historiography in general, not only on the history of the concept of the archive, but perhaps also on the history of the formation of a concept in general. \n", + "\n", + "\n", + "\t* This paragraph contains words (impression, signature, historiography), which tangent towards the understanding of \"writing history\" as an active process of inscription.\n", + "\t* History does not write itself, it’s written by people - almost exclusively the winners. (Could it be co-written by the users?)\n", + "\t* Can every concept be psychoanalized?\n", + "\t* \"in the history of the formation of a concept in general.\" every concept can be psychoanalized, understood contextually and historically, in relation to power structures and institutions that shaped the concepts.\n", + "\t* Just a thought: How many words do we use daily, without being aware of their real origin, their creators, the contexts that gave birth to them?\n", + "\n", + "\n", + "We are saying for the time being Freudian signature so as not to have to decide yet between Sigmund Freud, the proper name, on the one hand, and, on the other, the invention of psychoanalysis: project of knowledge, of practice and of institution, community, family, domiciliation, consignation, \"house\" or \"museum,\" in the present state of its archivization. What is in question is situated precisely between the two. \n", + "\n", + "\n", + "\t* What is the \"Freudian signature\" in this context?\n", + "\t* Sigmund Freud here can be considered as an archon, and the invention of psychoanalysis is here equated with the archive. We do not want to talk about psychoanalysis in either of the ways, we call the process \"Freudian signature\" in order to avoid either of the binaries. (The holder of the power OR the institutionalization of it.) Middle ground. But it is a kind of a cheat.\n", + "\t* Archive as a blackbox. The mechanisms within are invisible, visible only to the privileged. Psychoanalysis as a tool to look at the non-disclosed process of interpretation. \n", + "\t* https://www.researchgate.net/profile/Shahriman_Zainal_Abidin/publication/259524711/figure/fig1/AS:339673143627784@1457995796319/Freuds-iceberg-model-of-unconscious-pre-conscious-and-conscious-levels.png\n", + "\n", + "\n", + "Having thus announced my intentions, and promised to collect them so as to conclude in a more organized fashion, I ask your permission to take the time and the liberty to enter upon several lengthy preliminary excursions.\n", + "\n", + "\t* And then, the Archive fever, A Freudian impression by Jacques Derrida continues into unimaginable excurses of the mind ...\n", + "\n", + "https://pbs.twimg.com/media/EHvaRxyWwAEzO1p?format=jpg&name=900x900\n", + "\n", + "\n" + ] + } + ], + "source": [ + "# You can read the content of an etherpad, by using the /export/txt function of etherpad\n", + "# See the end of the url below:\n", + "\n", + "from urllib.request import urlopen\n", + "\n", + "url = 'https://pad.xpub.nl/p/archivefever/export/txt'\n", + "\n", + "response = urlopen(url)\n", + "#print(response)\n", + "\n", + "#txt = response.read()\n", + "txt = response.read().decode('UTF-8')\n", + "print(txt)" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": { + "scrolled": true + }, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": 4, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "In the era of emojis[😡😡], we have forgotten about the politics of punctuation. Which mark or sign holds sway[0] over us in the age of Twitter, Facebook, YouTube comments, emails, and text messages? If we take the tweets of Donald Trump as some kind of symptomatic indicator[9], we can see quite well that it is the exclamation mark*** [6] – ! – that dominates. A quick look at his tweets from the last 48 hour period shows that almost all of them end with a single declarative sentence or word followed by a ‘!’: ‘Big trade imbalance!’, ‘No more!’, ‘They’ve gone CRAZY!’, ‘Happy National Anthem Day!’, ‘REST IN PEACE BILLY GRAHAM!’, [1]‘IF YOU DON’T HAVE STEEL, YOU DON’T HAVE A COUNTRY!’, (we shall leave the matter of all caps for another time), ‘$800 Billion Trade Deficit-have no choice!, ‘Jobless claims at a 49 year low!’ and so on … you get the picture. Trump’s exclamation mark is the equivalent of a boss slamming [8] his fist down on the table, an abusive partner shouting at a tentative[3] query[5], an exasperated [2] shock jock[2b] arguing with an imaginary[4] opponent. It is the exclamation mark as the final word, which would not be so frightening if Trump’s final word was not also [1]backed up by nuclear annihilation [7], the US army, the police, court and prison system, vast swathes [11] of the US media and electorate, and multiple people around him too afraid to say ‘no.’ This is the exclamation mark as apocalypse*, not the ‘!’ of surprise, amusement, girlish shyness, humour, or ironic puncture. This is the exclamation** of doom.[10] [How so?]Because it is backed up by [1].\n", + "\n", + "[😡😡] --> state of mind of Trump https://twitter.com/realDonaldTrump - at your own risk. 😡\n", + "\n", + "[2] exasperated 😡: intensely irritated and frustrated\n", + "\n" + ] + } + ], + "source": [ + "# To come back to searching for patterns ... you can use the if/else statements to search for annotation symbols in one of the pads you're annotation atm!\n", + "from urllib.request import urlopen\n", + "\n", + "url = 'https://pad.xpub.nl/p/!%E2%80%93Nina_Power/export/txt'\n", + "response = urlopen(url)\n", + "\n", + "lines = response.readlines()\n", + "\n", + "for line in lines:\n", + " line = line.decode('UTF-8')\n", + " \n", + " if '😡' in line:\n", + " print(line)" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": 112, + "metadata": {}, + "outputs": [], + "source": [ + "# Try to search for more patterns in a pad!" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + } + ], + "metadata": { + "kernelspec": { + "display_name": "Python 3", + "language": "python", + "name": "python3" + }, + "language_info": { + "codemirror_mode": { + "name": "ipython", + "version": 3 + }, + "file_extension": ".py", + "mimetype": "text/x-python", + "name": "python", + "nbconvert_exporter": "python", + "pygments_lexer": "ipython3", + "version": "3.7.3" + } + }, + "nbformat": 4, + "nbformat_minor": 4 +} diff --git a/RESURGENCE/resources/negx.jpg b/RESURGENCE/resources/negx.jpg new file mode 100644 index 0000000..d3bdd2b Binary files /dev/null and b/RESURGENCE/resources/negx.jpg differ diff --git a/RESURGENCE/resources/negy.jpg b/RESURGENCE/resources/negy.jpg new file mode 100644 index 0000000..319c966 Binary files /dev/null and b/RESURGENCE/resources/negy.jpg differ diff --git a/RESURGENCE/resources/negz.jpg b/RESURGENCE/resources/negz.jpg new file mode 100644 index 0000000..85b6dd2 Binary files /dev/null and b/RESURGENCE/resources/negz.jpg differ diff --git a/RESURGENCE/resources/posx.jpg b/RESURGENCE/resources/posx.jpg new file mode 100644 index 0000000..0e96b5c Binary files /dev/null and b/RESURGENCE/resources/posx.jpg differ diff --git a/RESURGENCE/resources/posy.jpg b/RESURGENCE/resources/posy.jpg new file mode 100644 index 0000000..f4d5975 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10; + color: black; + position: fixed; + top: 50%; + left: 50%; + z-index:9; + transform: translate(-50%, -50%); + opacity: 1; + +} + + +#game-text{ +position: sticky; +margin-top: 20px; +z-index: 10; +max-width: 30%; + top: 50%; + left: 50%; + transform: translate(-50%, -50%);} + +/*button { + width: 1%; + height: 30px; + text-align:left; + font-size: 1em; + margin-top:15px; + padding: 12px 20px; + margin: 8px 0; + box-sizing: border-box; + border: red; + font-family: Anka; + color: yellowgreen; + background-color:rgba(255, 0, 0, 0);; + position: fixed; + text-decoration: none; + z-index: 10; + + top: 50%; + border-radius: 20px; + +} + +button:hover { + width: 1%; + height: 30px; + text-align:left; + font-size: 1em; + margin-top:15px; + padding: 12px 20px; + margin: 8px 0; + box-sizing: border-box; + border: red; + font-family: Anka; + color: yellowgreen; + background-color:rgba(255, 0, 0, 0); + position: fixed; + text-decoration: none; + z-index: 10; + top: 50%; + +scale: 160%; + +}*/ + +#yes{ + left: 35%; +} + + +#no{ + right:35%; +} + +#forward{ + top:35%; + left: 50%; + transform: translate(-50%, -50%); +} + + +#back{ + top: 70%; + left: 50%; + transform: translate(-50%, -50%); +} + +.container { + width: 60%; + max-width: 70%; + height: 80%; + background-color: #b0abb4de; + padding: 10px; + border-radius: 5px; + z-index: 10; + color: #e30534; + position:fixed; + top: 20em; + left: 50%; + transform: translate(-50%, -50%); + opacity: 1; + padding: 1em; + box-shadow: 0 0 40px #214c12; + overflow: scroll; + overflow-x: hidden; +} + +.container:hover{box-shadow: 0 0 60px #FF2200;} + +/*.container:hover{box-shadow: 0 0 10px black, 0 0 20px black, 0 0 30px yellowgreen;}*/ + +.container2 { + width: 50%; + max-width: 80%; + background-color: white; + padding: 10px; + border-radius: 5px; + box-shadow: 0 0 10px 2px; + z-index: 10; + color: #214c12; + position: fixed; + top: 30%; + left: 50%; + transform: translate(-50%, -50%); + opacity: 0; + visibility: hidden; +} + + + +.btn { + background-color: #bfeaea; + border: rgba(255, 0, 0, 0); + border-radius: 5px; + color:#214c12; + outline: none; + z-index: 11; + font-family: Anka; + position: fixed; + top: 10px; + left: 10px; + max-width: 50%; + text-decoration: none; + box-shadow: 0 0 10px #214c12; + padding: 2px; +} + +.btn2 { + background-color: #bfeaea; + border: rgba(255, 0, 0, 0); + border-radius: 5px; + color:#214c12; + outline: none; + z-index: 11; + font-family: Anka; + position: fixed; + top: 10px; + right: 10px; + max-width: 50%; + text-decoration: none; + box-shadow: 0 0 10px #214c12; + padding: 2px; +} + +.btn3 { + background-color: #bfeaea; + border: rgba(255, 0, 0, 0); + border-radius: 5px; + color:#214c12; + outline: none; + z-index: 11; + font-family: Anka; + position: fixed; + top: 3em; + left: 10px; + max-width: 50%; + text-decoration: none; + box-shadow: 0 0 10px #214c12; + padding: 2px; +} +#text{z-index: 10; +color: #7f00ff} + + +p{z-index: 10; + + color:#7f00ff; +} + +a{ text-decoration: none; +color: red; +} + +a:hover{ text-decoration: none; +color: red; +size: 4em;} + +button:hover { + border-color: black; + background-color: darkgray; + z-index: 10; + box-shadow: 0 0 10px #214c12; +} + +button {background-color:yellow;} + +@media only screen and (max-width: 768px) { + /* For mobile phones: */ + [class*="container"] { + width: 100%; + } +} + +#anchor{font-size: 3em;} \ No newline at end of file diff --git a/RESURGENCE/textadventuretry.ipynb b/RESURGENCE/textadventuretry.ipynb new file mode 100644 index 0000000..78fb497 --- /dev/null +++ b/RESURGENCE/textadventuretry.ipynb @@ -0,0 +1,172 @@ +{ + "cells": [ + { + "cell_type": "code", + "execution_count": 7, + "metadata": {}, + "outputs": [], + "source": [ + "from pattern.search import STRICT, search\n", + "from pattern.en import parsetree" + ] + }, + { + "cell_type": "code", + "execution_count": 8, + "metadata": {}, + "outputs": [], + "source": [ + "text = open(\"RESURGENCE.txt\").read()" + ] + }, + { + "cell_type": "code", + "execution_count": 9, + "metadata": {}, + "outputs": [], + "source": [ + "tree = parsetree(text)" + ] + }, + { + "cell_type": "code", + "execution_count": 10, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "'RESURGENCE | Isabelle Stengers \\n\\n“We are the grandchildren of the witches you were not able to burn”'" + ] + }, + "execution_count": 10, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "text[:100]" + ] + }, + { + "cell_type": "code", + "execution_count": 11, + "metadata": {}, + "outputs": [ + { + "ename": "TypeError", + "evalue": "unsupported operand type(s) for /: 'str' and 'int'", + "output_type": "error", + "traceback": [ + "\u001b[0;31m---------------------------------------------------------------------------\u001b[0m", + "\u001b[0;31mTypeError\u001b[0m Traceback (most recent call last)", + "\u001b[0;32m\u001b[0m in \u001b[0;36m\u001b[0;34m\u001b[0m\n\u001b[1;32m 3\u001b[0m \u001b[0;32mfor\u001b[0m \u001b[0ms\u001b[0m \u001b[0;32min\u001b[0m \u001b[0mtree\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 4\u001b[0m \u001b[0mf\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mopen\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34mf\"page{n}.html\"\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\"w\"\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m----> 5\u001b[0;31m \u001b[0mprint\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m\"\"\"\"\"\"\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\"choose your fate:\"\u001b[0m\u001b[0;34m/\u001b[0m\u001b[0mn\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0mfile\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mf\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m 6\u001b[0m \u001b[0mprint\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0ms\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mfile\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mf\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 7\u001b[0m \u001b[0mf\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mclose\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n", + "\u001b[0;31mTypeError\u001b[0m: unsupported operand type(s) for /: 'str' and 'int'" + ] + } + ], + "source": [ + "n = 0\n", + "\n", + "for s in tree:\n", + " f = open(f\"page{n}.html\",\"w\")\n", + " print(\"\"\"\"\"\",\"choose your fate:\"/n,file = f)\n", + " print(s, file = f)\n", + " f.close()\n", + " n = n + 1\n", + " " + ] + }, + { + "cell_type": "code", + "execution_count": 12, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "[Match(words=[Word('take/VB'), Word('this/DT'), Word('motto/NN')]),\n", + " Match(words=[Word('disqualify/VB'), Word('the/DT'), Word('resurgence/NN')]),\n", + " Match(words=[Word('be/VB'), Word('the/DT'), Word('way/NN')]),\n", + " Match(words=[Word('inherit/VB'), Word('the/DT'), Word('struggle/NN')]),\n", + " Match(words=[Word('resist/VB'), Word('the/DT'), Word('idea/NN')]),\n", + " Match(words=[Word('have/VB'), Word('the/DT'), Word('courage/NN')]),\n", + " Match(words=[Word('accept/VB'), Word('this/DT'), Word('loss/NN')]),\n", + " Match(words=[Word('be/VB'), Word('a/DT'), Word('question/NN')]),\n", + " Match(words=[Word('have/VB'), Word('no/DT'), Word('power/NN')]),\n", + " Match(words=[Word('signal/VB'), Word('an/DT'), Word('advance/NN')]),\n", + " Match(words=[Word('generate/VB'), Word('the/DT'), Word('capacity/NN')]),\n", + " Match(words=[Word('suspect/VB'), Word('some/DT'), Word('kind/NN')]),\n", + " Match(words=[Word('suppress/VB'), Word('any/DT'), Word('temptation/NN')]),\n", + " Match(words=[Word('doubt/VB'), Word('the/DT'), Word('kind/NN')]),\n", + " Match(words=[Word('make/VB'), Word('a/DT'), Word('living/NN')]),\n", + " Match(words=[Word('become/VB'), Word('an/DT'), Word('ally/NN')]),\n", + " Match(words=[Word('weather/VB'), Word('the/DT'), Word('storm/NN')]),\n", + " Match(words=[Word('recover/VB'), Word('the/DT'), Word('capacity/NN')])]" + ] + }, + "execution_count": 12, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "search('VB DT NN', tree)" + ] + }, + { + "cell_type": "code", + "execution_count": 14, + "metadata": {}, + "outputs": [ + { + "ename": "TypeError", + "evalue": "unsupported operand type(s) for /: 'str' and 'int'", + "output_type": "error", + "traceback": [ + "\u001b[0;31m---------------------------------------------------------------------------\u001b[0m", + "\u001b[0;31mTypeError\u001b[0m Traceback (most recent call last)", + "\u001b[0;32m\u001b[0m in \u001b[0;36m\u001b[0;34m\u001b[0m\n\u001b[1;32m 2\u001b[0m \u001b[0mn\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;36m0\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 3\u001b[0m \u001b[0;32mfor\u001b[0m \u001b[0mm\u001b[0m \u001b[0;32min\u001b[0m \u001b[0msearch\u001b[0m \u001b[0;34m(\u001b[0m\u001b[0;34m\"VB DT NN\"\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mtree\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m----> 4\u001b[0;31m \u001b[0mprint\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34mf\"{m.string}\"\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0;34m\"choose your fate:\"\u001b[0m\u001b[0;34m/\u001b[0m\u001b[0mn\u001b[0m\u001b[0;34m,\u001b[0m\u001b[0mfile\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mf\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m 5\u001b[0m \u001b[0mn\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mn\u001b[0m \u001b[0;34m+\u001b[0m \u001b[0;36m1\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 6\u001b[0m \u001b[0mf\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mclose\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n", + "\u001b[0;31mTypeError\u001b[0m: unsupported operand type(s) for /: 'str' and 'int'" + ] + } + ], + "source": [ + "f = open(\"adventure.html\",\"w\")\n", + "n = 0\n", + "for m in search (\"VB DT NN\", tree):\n", + " print(f\"{m.string}\",\"choose your fate:\"/n,file = f)\n", + " n = n + 1\n", + "f.close()" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + } + ], + "metadata": { + "kernelspec": { + "display_name": "Python 3", + "language": "python", + "name": "python3" + }, + "language_info": { + "codemirror_mode": { + "name": "ipython", + "version": 3 + }, + "file_extension": ".py", + "mimetype": "text/x-python", + "name": "python", + "nbconvert_exporter": "python", + "pygments_lexer": "ipython3", + "version": "3.7.3" + } + }, + "nbformat": 4, + "nbformat_minor": 4 +} diff --git a/RESURGENCE/try/fonts/AnkaCoder-b.ttf b/RESURGENCE/try/fonts/AnkaCoder-b.ttf new file mode 100644 index 0000000..6dcf5e0 Binary files /dev/null and b/RESURGENCE/try/fonts/AnkaCoder-b.ttf differ diff --git a/RESURGENCE/try/index.html b/RESURGENCE/try/index.html new file mode 100644 index 0000000..f33e764 --- /dev/null +++ b/RESURGENCE/try/index.html @@ -0,0 +1,58 @@ + + + + TEST + + + + + + + + + + + + +
+ + + + +

Resurgence by Isabelle Stengers


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“We are the grandchildren of the witches you were not able to burn” – Tish Thawer

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I will take this motto, which has flourished in recent protests in the United States, as the defiant cry of resurgence – refusing to define the past as dead and buried. Not only were the witches killed all over Europe, but their memory has been buried by the many retrospective analyses which triumphantly concluded that their power and practices were a matter of imaginary collective construction affecting both the victims and the inquisitors. Eco-feminists have proposed a very different understanding of the ‘burning times.’ They associate it with the destruction of rural cultures and their old rites, with the violent appropriation of the commons, with the rule of a law that consecrated the unquestionable rights of the owner, and with the invention of the modern workers who can only sell their labour-power on the market as a commodity. Listening to the defiant cry of the women who name themselves granddaughters of the past witches, I will go further. I will honour the vision which, since the Reagan era, has sustained reclaiming witches such as Starhawk, who associate their activism with the memory of a past earth-based religion of the goddess - who now ‘returns.’ Against the ongoing academic critical judgement, I claim that the witches’ resurgence, their chant about the goddess’ return, and inseparably their return to the goddess, should not be taken as a ‘regression.’

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Given the threatening unknown our future is facing, the question of academic judgements may seem like a rather futile one. Very few, including academics themselves, among those who disqualify the resurgence of witches as regressive, are effectively forced to think by this future, which the witches resolutely address. They are too busy living up to the relentless neoliberal demands which they have now to satisfy in order to survive. However, if there is something to be learned from the past, it may well be the way in which defending the victims of eradicative operations has so often deemed futile. In one way or another, these victims deserved their fate, or this fate was the price to be unhappily paid for progress. “Creative destructions,” economists croon. What we have now discovered is that these destructions come with cascading and interconnecting consequences. Worlds are destroyed and no such destruction is ever deserved. This is why I will address the academic world, which, in turns, is facing its own destruction. Probably, because it is the one I know best, also because of its specific responsibility in the formation of the generations which will have to make their way in the future.

🌲 +

Resurgence often refers to the reappearance of something defined as deleterious – e.g. an agricultural pest or an epidemic vector – after a seemingly successful operation of eradication. It may also refer to the reworlding of a landscape after a natural catastrophe or a devastating industrial exploitation. Today, such a reworlding is no longer understood by researchers in ecology in terms of the restoration of some stable equilibrium. Ecology has succeeded in freeing itself from the association of what we call “natural” with an ordered reality verifying scientific generalization. In contrast, academic judgements entailing the idea of regression still imply what has been called “The Ascent of Man:” “Man” irrevocably turning his back on past attachments, beliefs, and scruples, affirming his destiny of emancipation from traditions and the order of nature. Even critical humanities including feminist studies, whatever their deconstruction of the imperialist, sexist, and colonialist character of the “Ascent of Man” motto, still do not know how to disentangle themselves from the reference to a rational progress which opposes the possibility of taking seriously the contemporary resurgence of what does not conform to a materialist, that is, secularist, position.

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If resurgence is a word for the future, it is because we may use it in the way the granddaughters of the witches do: as a challenge to eradicative operations, with which what we call materialism and secularism are irreducibly associated, are still going on today. It is quite possible to inherit the struggle against the oppressive character of religious institutions without forgetting what came together with materialism and secularism; the destruction of what opposed the transition to capitalism both in Europe and in the colonized world.1 It is quite possible to resist the idea that what was destroyed is irrevocably lost and that we should have the courage to accept this loss. Certainly it cannot be a question of resurrecting the past. What eventually returns is also reinventing itself as it takes root in a new environment, challenging the way it defined its destruction as a fait accompli. In the academic environment, defining as a fait accompli the destruction of the witches might be the only true point of agreement uniting two antagonist powers: those who take as an “objective fact” that the magic they claimed to practice does not exist, and those who understand magic as a cultural-subjective construction belonging to the past.

🌙 +

[b]Getting rid of the Objectivity – Subjectivity banners[b]

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In the academic world eradicative operations are a routine, performed as ‘methodology’ by researchers who see it as their duty to disentangle situations in order to define them. Some will extract information about human practices only and give (always subjective) meaning to these situations. Others will only look at ‘(objective) facts’, the value of which should be to hold independently of the way humans evaluate them. Doing so, these academics are not motivated by a quest for a relevant approach. Instead they act as mobilized armies of either objectivity or subjectivity, destroying complex situations that might have slowed them down, and would have forced them to listen to voices protesting against the way their method leaves unattended knowledge that matters to others.

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That objectivity is a mobilizing banner is easy to demonstrate. It would have no power if it were taken in the strict experimental sense, where it means the obtaining of an exceptional and fragile achievement. An experimental ‘objective’ fact is always extracted by active questioning. However, achieving objectivity then implies the creation of a situation that gives ‘the thing questioned’ the very unusual power to authorize one interpretation that stands against any other possible one. Experimental objectivity is thus the name of an event, not the outcome of a method. Further, it is fragile because it is lost as soon as the experimental facts leave the ‘lab’ – the techno-social rarefied milieu required by experimental achievements – and become ingredients in messy real world situations. When a claim of objectivity nevertheless sticks to those facts outside of the lab, it transforms this claim into a devastating operator. As for the kind of objectivity claimed by the sheer extraction of “data” or by the unilateral imposition of a method, it is a mere banner for conquest. On the other hand, holding the ground of subjectivity against the claims of objectivity, not so very often means empowering the muted voices that point to ignored or disqualified matters. Scientists trying to resist the pseudo-facts that colonialize their fields, caring for a difference to be made between ‘good’ (relevant) and ‘bad’ (abusive) sciences, have found no allies in critical sciences.[2] For those who are mobilized under the banner of subjectivity such scruples are ludicrous.

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Academic events such as theoretical turns or scientific revolutions – including the famous Anthropocene turn – won’t help to foster cooperative relations or care for collaborative situations. Indeed, such events typically signal an advance, usually the creative destruction of some dregs of common sense that are still contaminating what was previously accepted. In contrast, if there were to be resurgence it would signal itself by the ‘demoralization’ of the perspective of advance. Demoralization is not however about the sad recognition of a limit to the possibility of knowing. It rather conveys the possibility of reducing the feeling of legitimacy that academic researchers have about their objectivity – subjectivity methodologies. The signal of a process of resurgence might be researchers deserting their position when they recognise that subjectivity and objectivity are banners only, imperatives to distance themselves from concerned voices, protesting against the dismemberment of what they care for.

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Making common sense

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Addressing situations that are a matter of usually diverging concerns in a way that resists dismembering them, means betraying the mobilization for the advance of knowledge. The resurgence of cooperative and non-antagonist relations points towards situation-centred achievements. It requires that the situation itself be given the power to make those concerned think together, that is to induce a laborious, hesitant, and sometimes conflictual collective learning process of what each particular situation demands from those who approach it. This requirement is a practical one. If the eradicative power of the objective/subjective disjunction is to collapse and give way to a collective process, we need to question many academic customs. The ritual of presentations with PowerPoint authoritative bullet-point like arguments, for instance, perfectly illustrates the way situations are mobilized in a confrontational game, when truth is associated with the power of one position to defeat the others. In addition, we may need to find inspiration in ancient customs. New academic rituals may learn for instance from the way the traditional African palavers or the sweat lodge rituals in North American First Nations, these examples ward off one-way-truths and weaponized arguments.

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Today, many activist groups share with reclaiming contemporary witches the reinvention of the art of consensus-making deliberation; giving the issue of deliberation the power to make common sense. What they learn to artfully design are resurgent ways to take care of the truth, to protect it from power games and relate it to an agreement - generated by a very deliberative process - that no party may appropriate it. They experiment with practices that generate the capacity to think and feel together. For the witches, convoking the goddess is giving room to the power of generativity. When they chant “She changes everything She touches, and everything She touches changes,” they honour a change that affects everything, but to which each affected being responds in its own way and not through some conversion [i]She[i] would command. Of course, such arts presuppose a shared trust in the possibility of generativity and we are free to suspect some kind of participatory role-playing. But refusing to participate is also playing a role. Holding to our own reasons demands that, when we feel we understand something about the other’s position, we suppress any temptation to doubt the kind of authority we confer to our reasons, as if such a hesitation was a betrayal of oneself. What if the art of transformative encounters cultivated the slow emergence and intensification of a mutual sensitivity? A mutual sensitivity that generates a change in the relationship that each entertains with their own reasons.

+

Polyphonic song

+

Curiously enough the resurgence of the arts of partnering around a situation, of composing and weaving together relevant but not authoritative reasons, echoes with the work of laboratory biologists. Against the biotechnological redefinition of biology they claim that the self-contained isolable organisms might be a dubious abstraction. What they study are not individual beings competing for having their interest prevail, but multiple specific assemblages between interdependent mutually sensitive partners weaving together capacities to make a living which belong to none of them separately. “We have never been individuals” write Scott Gilbert and his colleagues who are specialists in evolutionary developmental biology.[3] “It is the song that matters, not the singer,” adds Ford Doolittle, specialist in evolutionary microbiology, emphasizing the open character of assemblages, the composition of which (the singers) can change as long as the cooperative pattern, the polyphonic song, is preserved.[4] In other words, biologists now discover that both in the lab and in the field, they have to address cooperative worlds and beings whose ways of life emerge together with their participation in worlding compositions. One could be tempted to speak about a ‘revolution’ in biology, but it can also be said that it is a heresy, a challenge against the mobilizing creed in the advance of science. Undoubtedly, biology is becoming more interesting, but it is losing its power to define a conquering research direction, since each “song”; each assemblage, needs to be deciphered as such. If modes of interdependence are what matters, extraction and isolation are no longer the royal road for progress. No theory - including complex or systemic ones - can define [i]a priori[i] its rightful object, that is, anticipate the way a situation should be addressed.

+

This “heretical” biology is apt to become an ally in the resurgence of cooperative relations between positive sciences and humanities at a time when we vitally need ‘demobilization,’ relinquishing banners which justified our business-as-usual academic routines. I will borrow Anna Tsing’s challenging proposition, that our future might be about learning to live in “capitalist ruins.”[5] That is, in the ruins of the socio-technical organizational infrastructures that ensured our business-as-usual life. Ruins may be horrific, but Tsing recognises ruins also as a place for the resurgence and cultivation of an art of paying attention, which she calls the “art of noticing.” Indeed ruins are places where vigilance is required, where the relevance of our reasons is always at risk, where trusting the abstractions we entertain is inviting disaster. Ruins demand consenting to the precariousness of perspectives taken for granted, that ‘stable’ capitalist infrastructures allowed us, or more precisely, allowed some of us. Tsing follows the wild Matsutake mushroom that thrives in ruined forests - forests ruined by natural catastrophes or by blind extraction, but also by projects meant to ensure a ‘rational and sustainable’ exploitation, that discovered too late that what they had eliminated as prejudicial or expendable [I]did matter[I]. Devastation, the unravelling of the weaving that enables life, does not need to be willful, deliberate – blindly trusting an idea may be sufficient. As for Tsing, she is not relying on overbearing ideas. What she notices is factual but does not allow to abstract what would objectively matter from situational entanglements, in this case articulated by the highly sought mushroom and its [i]symbionts[i] including humans. Facts, here, are not stepping stones for a conquering knowledge and do not oppose objectivity to subjectivity. What is noticed is first of all what appears as interesting or intriguing. It may be enlightening but the light is not defining the situation, it rather generates new possible ways of learning, of weaving new relations with the situation.

+

[b]We are the weavers and we are the woven[b]

+

If our future is in the ruins, the possibility of resurgence is the possibility of cultivating, of weaving again what has been unravelled in the name of “the Ascent of Man.” We are not to take ourselves for the weavers after having played the masters, or the assemblers after having glorified extraction. “We are the weavers and we are the web,” sing the contemporary witches who know and cultivate generativity.[6] The arts of cultivation are arts of interdependence, of consenting to the precariousness of lives involved in each other. Those who cultivate do their part, trusting that others may do their own but knowing that what they aim at depends on what cannot be commanded or explained. Those who claim to explain growth or weaving are often only telling about the preparations required by what they have learned to foster, or they depend on the selection of what can be obtained and mobilized ‘off-ground’ in rarefied, reproducible environments. In the ruins of such environments, resurgence is not a return to the past, rather the challenge to learn again what we were made to forget – but what some have refused to forget.

+

When the environmental, social and climate justice, multiracial [i]Alliance of alliances[i], led by women, gender oppressed people of colour, and Indigenous Peoples, claim that “it takes roots to grow resistance,” or else, “to weather the storm,” they talk about the need to name and honour what sustains them and what they struggle for.[7] When those who try to revive the ancient commons, which were destroyed all over the world in the name of property rights, claim that there is “no commons without commoning,” that is, without learning how to “think like commoners,” they talk about the need to not only reclaim what was privatized but to recover the capacity to be involved with others in the ongoing concern and care for their maintenance of the commons.[8] Resurgence is a word for the future as it confronts us with what William James called a ‘genuine option concerning this future’. Daring to trust, as do today’s activists, in an uncertified, indeed improbable, not to say ‘speculative,’ possibility of reclaiming a future worth living and dying for, may seem ludicrous. But the option cannot be avoided because today there is no free standing place outside of the alternative: condescending skepticism, refusing to opt or opting against resurgence, are equivalent.

+

Such an option has no privileged ground. Neither the soil sustaining the roots nor the mutually involved of interdependent partners composing a commons, can be defined in abstraction from the always-situated learning process of weaving relations that matter. These are generative processes liable to include new ways of being with new concerns. New voices enter a song, both participating in this song and contributing to reinvent it. For us academics it does not mean giving up scientific facts, critical attention, or critical concern. It demands instead that such facts, attention, and concerns are liable to participate in the song, even if it means adding new dimensions that complicate it. As such, even scientific facts thus communicate with what William James presented as the “great question” associated with a pluriverse in the making: “does it, with our additions, rise or fall in value? Are the additions worthy or unworthy?”[9] Such a question is great because it obviously cannot get a certified answer but demands that we do accept that what we add makes a difference in the world and that we have to answer for the manner of this difference.

+

Footnotes

+
+
+
    +
  1. Silvia Federici, [i]Caliban and the Witch. Women, the Body and Primitive Accumulation[i]. Brooklyn, NY: Autonomedia, 2004. 2. Rose, Hilary. “My Enemys Enemy Is, Only Perhaps, My Friend.” [i]Social Text[i], no. 45 (1996): 61-80. doi:10.2307/466844.3. Gilbert, Scott F., Jan Sapp, and Alfred I. Tauber. “A Symbiotic View of Life: We Have Never Been Individuals.” [i]The Quarterly Review of Biology[i] 87, no. 4 (2012): 325-41. doi:10.1086/668166.4. Doolittle, W. Ford, and Austin Booth. “It’s the Song, Not the Singer: An Exploration of Holobiosis and Evolutionary Theory.” [i]Biology & Philosophy[i] 32, no. 1 (2016): 5-24. doi:10.1007/s10539-016-9542-2.5. Tsing, Anna Lowenhaupt. [i]The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins[i]. Princeton, NJ: Princeton University Press, 2015.6. Starhawk. [i]Dreaming the Dark: Magic, Sex, and Politics[i]. Boston, MA: Beacon Press, 1997. 225.7. “It Takes Roots – An Alliance of Alliances.” It Takes Roots. http://ittakesroots.org/.8. Bollier, David. [i]Think like a Commoner: A Short Introduction to the Life of the Commons[i]. Gabriola Island, BC, Canada: New Society Publishers, 2014.9. William, James. [i]Pragmatism: A New Name for Some Old Ways of Thinking[i]. New York, NY: Longman Green and Co., 1907. 98.

  2. +
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+ + +
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+ } +} + +#anchor{font-size: 3em;} + + + +.header{position: absolute; +height: 10px; +z-index: 100;} \ No newline at end of file diff --git a/RESURGENCE/try/wftfs-Regular.otf b/RESURGENCE/try/wftfs-Regular.otf new file mode 100644 index 0000000..a1c417d Binary files /dev/null and b/RESURGENCE/try/wftfs-Regular.otf differ diff --git a/RESURGENCE/untitled.txt b/RESURGENCE/untitled.txt new file mode 100644 index 0000000..e69de29 diff --git a/RESURGENCE/vbdtnn.html b/RESURGENCE/vbdtnn.html new file mode 100644 index 0000000..ef60519 --- /dev/null +++ b/RESURGENCE/vbdtnn.html @@ -0,0 +1,20 @@ + +choose your action: +take this motto +disqualify the resurgence +be the way +inherit the struggle +resist the idea +have the courage +accept this loss +be a question +have no power +signal an advance +generate the capacity +suspect some kind +suppress any temptation +doubt the kind +make a living +become an ally +weather the storm +recover the capacity diff --git a/RESURGENCE/windy.mp3 b/RESURGENCE/windy.mp3 new file mode 100644 index 0000000..2353313 Binary files /dev/null and b/RESURGENCE/windy.mp3 differ diff --git a/TENSE/EBGaramond-Italic.ttf b/TENSE/EBGaramond-Italic.ttf new file mode 100644 index 0000000..a7201b0 Binary files /dev/null and b/TENSE/EBGaramond-Italic.ttf differ diff --git a/TENSE/EBGaramond-MediumItalic.ttf b/TENSE/EBGaramond-MediumItalic.ttf new file mode 100644 index 0000000..a7cf2e5 Binary files /dev/null and b/TENSE/EBGaramond-MediumItalic.ttf differ diff --git a/TENSE/Roboto-Black.ttf b/TENSE/Roboto-Black.ttf new file mode 100644 index 0000000..2d45238 Binary files /dev/null and b/TENSE/Roboto-Black.ttf differ diff --git a/TENSE/Roboto-BlackItalic.ttf b/TENSE/Roboto-BlackItalic.ttf new file mode 100644 index 0000000..29a4359 Binary files /dev/null and b/TENSE/Roboto-BlackItalic.ttf differ diff --git a/TENSE/Roboto-Bold.ttf b/TENSE/Roboto-Bold.ttf new file mode 100644 index 0000000..d998cf5 Binary files /dev/null and b/TENSE/Roboto-Bold.ttf differ diff --git a/TENSE/Roboto-BoldItalic.ttf b/TENSE/Roboto-BoldItalic.ttf new file mode 100644 index 0000000..b4e2210 Binary files /dev/null and b/TENSE/Roboto-BoldItalic.ttf differ diff --git a/TENSE/Roboto-Italic.ttf b/TENSE/Roboto-Italic.ttf new file mode 100644 index 0000000..5b390ff Binary files /dev/null and b/TENSE/Roboto-Italic.ttf differ diff --git a/TENSE/Roboto-Light.ttf b/TENSE/Roboto-Light.ttf new file mode 100644 index 0000000..3526798 Binary files /dev/null and b/TENSE/Roboto-Light.ttf differ diff --git a/TENSE/Roboto-LightItalic.ttf b/TENSE/Roboto-LightItalic.ttf new file mode 100644 index 0000000..46e9bf7 Binary files /dev/null and b/TENSE/Roboto-LightItalic.ttf differ diff --git a/TENSE/Roboto-Medium.ttf b/TENSE/Roboto-Medium.ttf new file mode 100644 index 0000000..f714a51 Binary files /dev/null and b/TENSE/Roboto-Medium.ttf differ diff --git a/TENSE/Roboto-MediumItalic.ttf b/TENSE/Roboto-MediumItalic.ttf new file mode 100644 index 0000000..5dc6a2d Binary files /dev/null and b/TENSE/Roboto-MediumItalic.ttf differ diff --git a/TENSE/Roboto-Regular.ttf b/TENSE/Roboto-Regular.ttf new file mode 100644 index 0000000..2b6392f Binary files /dev/null and b/TENSE/Roboto-Regular.ttf differ diff --git a/TENSE/Roboto-Thin.ttf b/TENSE/Roboto-Thin.ttf new file mode 100644 index 0000000..4e797cf Binary files /dev/null and b/TENSE/Roboto-Thin.ttf differ diff --git a/TENSE/Roboto-ThinItalic.ttf b/TENSE/Roboto-ThinItalic.ttf new file mode 100644 index 0000000..eea836f Binary files /dev/null and b/TENSE/Roboto-ThinItalic.ttf differ diff --git a/TENSE/SIGNATURE.png b/TENSE/SIGNATURE.png new file mode 100644 index 0000000..23d7b62 Binary files /dev/null and b/TENSE/SIGNATURE.png differ diff --git a/TENSE/TENSE.html b/TENSE/TENSE.html new file mode 100644 index 0000000..8be8523 --- /dev/null +++ b/TENSE/TENSE.html @@ -0,0 +1,1493 @@ + + + + + + + + + + + + +‹body› +‹/body› + + +
+ +
+ + + + + + + + + + + + + + ‹title›Tense‹/title› + +

+ + +
+ ‹bio›‹author›Simon(e) van Saarloos‹/author› is a writer and philosopher, living +in Amsterdam and Neee York City. Simon(e) writes the “e” in her +name between parantheses because she questions gender norms +and doubts anything that appears ‘as given’ or self-evident. Also, +what’s between parentheses might be more meaningful than what +is said to be meaningful. She is the author of three books (columns, +essay, fiction) Ik deug/deug niet [To Be Good or Not Be Good], Het +monogame drama [The monogamy Drama] and De vrouw die [The +Woman Who]. She also writes theatre and poetry and performs +on stage as a lecturer, activist and interviewer. In the last Dutch +general elections Simon(e) was a candidate for the political party +led by Sylvana Simons. She is currently writing a book on the trial + against Geert Wilders.‹/bio›
+

+‹song› +‹line›You want me to give you a testimony about my life‹/line› +
‹line› And how good he’s been to me‹/line› +
‹line› I don’t know what to tell you about him‹/line› +
‹line› I love him so much with all my heart and my soul‹/line› +
‹line› With every bone in my body I love him so much‹/line› +
‹line› Because he’s done so much for me‹/line› +
‹line› Every morning‹/line› +
‹line› Every day of my life‹/line› +
‹line› I won’t always be crying tears‹/line› +
‹line› In the middle of the night, and I won’t always have to wake up‹/line› +
‹line› By myself wondering how I’m gonna get through the day‹/line› +
‹line› I won’t always have to think about what I’m gonna do‹/line› +
‹line› And how I’m gonna, how I’m gonna make it‹/line› +
‹line› How I’m gonna get there, because he…‹/line› +
‹line› He’s gonna be there for me‹/line› +
‹line› (…)‹/line› +
‹line› It feels so good to be free‹/line› +
‹line› To be accepted for who you are and loved no matter what.‹/line›

+‹/song› +‹footnote›1‹/footnote›
+ + +‹about› + + ‹response› Martin Foucaut ‹response› + +‹author› Simon(e) van Saarloos ‹author› + +‹title› Tense ‹title› +‹/about› + + +


+
‹section› +

‹subtitle›Words That Do Not Kill.‹/subtitle›

+ +

‹paragraph› For someone growing up non-religious, this intro on Kayne West’s new album, The Life of Pablo, made me understand something I never had before. The song starts in such a sensuous way, that I truly thought the singer was giving me an account of her longing for ‘him,’ a fleshy him, a human him, a flawed but trustworthy male. Instead, she was expressing her love and trust in God. This only becomes clear at the end of her pledge, in the last two sentences: “Oh Lord thank you, You are the joy of my life.” Interestingly enough, it was only then that I was able to enjoy this spoken song called “Low Lights.” As, when I still thought the singer was displaying her love for a human him (not Him), I considered the lyrics overtly romantic, overtly dependent. This of course says a lot about my own beliefs about love (just as much as it says about what we are conditioned to expect and recognize as love in music, movies, and other popular expressions). + + +‹footnote›2‹/footnote› As soon as I realized it was about her love for God, I was totally drawn in, immersed by the intensity of her submission to Him. + +‹footnote›3‹/footnote› And suddenly I understood that it was her strong language that displayed, inhabited, shaped, constructed, and created her love and trust for him. Her language wasn’t just a true account of her worship, the language generated and endorsed the love. The love existed because of her saying it out loud.‹/paragraph›

+‹/section›
+


+ +
‹section› +

‹subtitle›Surrender‹/subtitle›

+ +

‹paragraph› For me, growing up secular and without spiritual rituals, it seemed impossible to start believing in a higher power that can be named as ‘Lord.’ Theoretically, I may want to submit to one idea or force, but it is exactly this longing to surrender that seems to suspend the possibility of actually belief. Wanting to submit isn’t the same as submission itself – it is the incapacity of submitting to submission. Being able to view submission, as something one can do, is exactly what withholds submission. However, when I heard this singer in “Low Lights,” I suddenly realized I could do that, I could express a message in a convinced, rhetorical, and descriptive manner, without necessarily believing the content of this message.‹/paragraph› +

‹paragraph›I love language. I love language so much that I can sound very convincing saying just about anything. I could express submission, whether or not I believe that I am truly feeling submission. In this convinced language, by expressing surrender I would experience surrender because the language of worship and submission is not descriptive but performative. Words create. Words do not just describe, they are gestures confirming and producing realities.‹footnote›4‹/footnote› As love is an abstraction, and not, for example, a chair one can point to, stating ‘I love him so much’ is the love.‹/paragraph›

+ +‹paragraph›My understanding of “Low Lights” comes from this trickle-down scheme: 1) Being unable to hear a person expressing Person-To-God Love (PTGL). 2) Rejecting Girl-To-Boy Love (GTBL), but expecting and thereby accepting GTBL’s existence. 3) Realizing that GTBL is actually PTGL; thus by acknowledging GTBL, becoming able to acknowledge PTGL.‹/paragraph› +

+ +‹paragraph›It wasn’t just this trickle down love-scheme that allowed me to gain some understanding of the depth of expressing worship. It was the singer’s voice too. Her voice sounds so joyous and rich, it actually reminded me of having sex, of my lover telling me I scream ‘like a wounded animal.’ Because my lover draws this image, allowing my screeches of joy to leave the bedroom through a metaphor, the sounds I make became something totally new in my own ears. My lover illuminated my responsive sounds through a metaphor, joyfully describing my joy. I had forgotten to hear my own sounds, they belonged to having sex, but until then, they had no identity or noticed existence outside of that moment. The same happened when she ‹anchor›described‹/anchor› my cunt. She described its shapes and textures and colors. At first it made me shy. But the next time we had sex, I noticed how her descriptions made my ‹anchor›experience‹/anchor› different. For the first time I consciously experienced the thickness of my inner lips, the swollenness of my clit. Her words had set these parts of my cunt ‘aside;’ her words placed them outside of my body and allowed me to have a fuller experience of my body. For me, the words she used are more than a description working as an intensifier. Her noticing evoked noticing. The unquestioned way she described my body made my body feel – totally, fully – as she had described it. I have never experienced myself as one thing true or full, but due to her confident description I could feel myself fully being her description: thick, swollen, screaming.‹/paragraph› +


+ +
Broken Image‹image›This image may contain: a cunt‹/image› +
+

+‹paragraph›This, however, does not mean that I feel defined. I can confidently say that her ‹anchor›descriptions‹/anchor› are relative as no genitals are average and all adjectives that she finds truth in are a matter of perception. It is not like her description became ‘facts about my cunt.’ It is not the exact truth of her words, but our joint submission to her expression that shaped the totality of my experience. If her description had any other goal than lovingly celebrating my body and its sounds, her words would have had a different effect. If she had meant to scale my genitals and sounds, comparing them, rating them, her metaphor would have felt reducing. The metaphor wouldn’t allow me to experience full oneness, the metaphor would reduce me to being my inner lips, just because her description was meant value determining. In that case we’d encounter the moment when words and metaphors turn into definitions, locking a reality down in order either to compare, classify, appraise.‹/paragraph›‹/section›
+


+
‹section› +

‹subtitle›Tense‹/subtitle›

+ +

‹paragraph›Why am I describing this intimate body/language experience? Because I was surprised by the thorough, alive, and bodily experience of words. I’m a lover of words, but I’m very much aimed at language’s shortcomings. One of the difficulties of language I have recently been involved with, is the gap between an ‹link›Hevent‹/link› and the moment this event is described. Anthropologist Elizabeth Povinelli calls this gap ‘tense.’ Even now, just by recalling her theory on tense in her book Economies of Abandonment, I’m sort of finalizing her theory, presenting it as something done and seizable, instead of as the continuous thinking she is trying to surface. Language ‹link›Hkills‹/link› continuation. When we describe something, we deny the continuity of that which we describe. When we describe something or someone, that something or someone still exists beyond and without our description. The description itself however is seen as the carrier of some kind of truth. The description is taken serious. The description allows us to look at something, rather than living with it.‹/paragraph›

+ +

+
Broken Image‹image›This image may contain: an event ‹/image› +
+

+ +‹paragraph›The dilemma that tense puts forward has been bugging me: how can I use words without killing what I’d like to draw attention to? How can we display continuous time while using language? Language itself is constantly drawing from the past. You do not have to be a scholar in linguistics to understand that every single word needs a memory – not a sentimental or deeply felt one per se – but in order to use a word we need to at least remember its meaning, remember that it has a meaning, remember that a word has a certain length and shape – that certain letters are part of the word while others are not. I felt I was experiencing continuousness of language when I was having sex and feeling my cunt and hearing my screams as my lover had described it. The descriptions became ‹link›Oexperience‹/link›.‹/paragraph› +

+‹paragraph›The in-between time defined as tense, creates a certain superiority of the person speaking, especially as the person speaking starts to claim a moment in time and space. While language kills what is being described, it enlivens the speaker. Questioning tense is a ‹link›Rfeminist practise‹/link›, as feminism is concerned with power relations and the inequalities and precarities it produces. Feminism maps and redistributes who holds space, time, and liveability. Questioning tense means one is focused on the livingness, the aliveness of what is described. It means that the continuous (well-)being of what is described, has priority. This demands the courage to let difficulty appear and remain, instead of crediting oneself (or the speaker) with making the described understandable, captured, or seizable.‹/paragraph› +

+ + +‹paragraph›‹link›LContinuity‹/link› is a feminist practise, as it asks for constantly paying attention. A noticing and attention not only aimed at what you already know or what feels close to you, but also of that which escapes your attention because of your positionality. This continuous noticing is necessary to re-direct and prevent an unequal distribution of attention. For example, the quotidian has often been seen as less important, than explicit political and public events. While feminist speakers often want to give an account of the more ‘forgotten’ narratives – realizing the status quo rests on benefiting a few dominant narratives – using language to create proximity can just as well trap what is described. What is described can sometimes even be more easily celebrated and embraced, because it appears dead and can be embraced as something standing still, a non-continuous world. Therefore, this feminist practise, or releasing tense, needs to be a ‹link›Hqueer feminist practise‹/link›. Queer because the embrace of what’s described cannot be a straight one, it is a messy sort of embrace in which it is unclear what embraces what: does the language embrace the listener, does the listener embrace the description, does the event described embrace the continuous language that is trying to linguistically engage the event? It’s an amorphous embrace with few coordinates. It’s an embrace of which it is unsure whether it is an embrace. It is moving, taking form, forming. Looking at it does not exist, it demands noticing with. The noticing and the performative effect of this noticing happens simultaneously and inseparable. There is neither an end to the change nor to the noticing. Noticing change is not meant to formulate strategy, or to expect an outcome. The queer part about this is that change is valued in itself; the change is a goal in itself.‹/paragraph› +‹/section›
+


+ +
‹section› +

‹subtitle›Superiority of Arrival‹/subtitle›

+ +

‹paragraph› Traditionally, there is the assumption that any act that appears queer and rebellious will disappear when a person matures. Age gives transitional possibilities. Ageing is a hopeful thing for those unwilling to accept present conditions. Underlining age, gaining years as the passing of time, and expecting evolution when ageing, reveals a linear conception of growth: when you get older, you will ‘move past’ things. It is very difficult to do without this notion of progress, to imagine a life without progress seems almost impossible, let alone: “to imagine justice without progress,” as anthropologist Anna Tsing so beautifully questions in her book The Mushroom at the End of the World: On The Possibility of Life in Capitalist Ruins.‹footnote›5‹/footnote› Often, when we speak about progress, progress is not only seen as a way to ‘improve’ life; celebrating progress is often used to debunk what was before. We see this with children displaying ‘queer behaviour,’ that parents think they will get over it and say, ‘It is just a phase’ (this too is often said of bisexuality, also among adults). Here I want to include the notion of ‘arriving.’ The expectations that we will later ‘arrive’ at a certain insight, we arrive at a better place in our lives, closer to something real, an arrival at ‘home.’ We tend to forget that what we understand as real is and only is the present. When we feel ‘unheimisch’ or ‘unreal,’ this is the real unreal feeling of the present.‹/paragraph›

+

+
Broken Image‹image› +This image may contain: one person, arriving ‹/image› +
+

+‹paragraph›By inserting the word ‘arrive’ here, I also come to think of ‘superiority,’ similar to the superiority of the speaker or writer claiming and deadening the continuity of the described. Columbus ‘discovered’ the Americas, meaning all the life that was there before Columbus arrived, was not considered meaningful or even living at all. It was no life. It only became life as he recognized it. Or so the history narrative we are accustomed to, latently (but bluntly) assumed When one arrives, one remembers the journey, but one does not acknowledge what was there before arrival or during the journey. Whenever there is a place to arrive, the place must have – in some way or another – existed all along. Those who arrive – whether at an insight, a conclusion, at happiness, or at mature behaviour – neglect the existence of that which already there. This goes hand in hand with a certain feeling of superiority, as it is one’s own arrival that’s central, not the ongoing existence that one comes to recognize. The efforts of the journey get the most attention. The common, inspirational motto ‘It’s all about the journey’ forgets that the person journeying demands an awaiting point of departure and arrival, unless one would state, ‘all is journey.’ When we think about progress, similar feelings of superiority come into play. Often, when someone poses, like Anna Tsing, that it might be possible and at least interesting to try and imagine a world without progress, this has historically been countered with a positivist belief in science. Especially medical science sounds very convincing. It’s a doctor’s duty to improve and possibly prolong (and thus progress?) life.‹/paragraph› +

+‹paragraph›I have experienced a short lifetime in a wheelchair. On a cold day in March, I woke up, then ten years old, and my hip was hurting so much that I couldn’t walk. Before that, I did sports everyday. Since that morning, I could only move in a wheelchair or walk short spans using crutches. I’m grateful that this sudden injury slowly disappeared after two years. Doctors used prednisone medications on me, the physical therapist tried different exercises, and my parents were wealthy enough to rent a better wheelchair than the free chair you are given by Thuiszorg.‹footnote›6‹/footnote› All of these factors helped me get better. But I was only helped to get through this. Why did I not learn to live with this injury? Even signs of progress, such as managing the wheelchair better, were seen as a sign of decline at the same time, as it meant I was getting better at something which was not considered ‘good’ or healthy. Living in a world made to be unsuitable for wheelchair users or other non-conformative bodies, I’m utterly happy that the pain in my hip went away. The point is, I have lived two years in my life in which I was getting through a situation. I was living through life, while not actually living life, living with. Is this why I remember nearly nothing of that time? Because I arrived at the other side – being able to walk again, lucky and ‘healthy’ – and upon my arrival I could forget that all worlds and all sides that are always already out there, even if you are not experiencing and enduring them.‹/paragraph› +‹/section›
+ +


+
‹section› +

‹subtitle›Being With Instead of Getting Through‹/subtitle›

+

+ +

‹paragraph› In retrospect, this way of living may have mirrored they way I was living life before landing in a wheelchair. As a child, I was rather unhappy. I listened to Marilyn Manson to express this unhappiness, not to fuel it. I dressed in black and painted my room black, I collected fake skulls and bracelets with studs to feel surrounded. People wanted to make me feel better, but they especially told me that I would feel better. It would get better, I was told, because I would grow older and find my way. People trusted I would find my way maybe especially because I was a white kid from a reasonable wealthy and educated family. All would be fine as the society I grew up in, had space for people like me (white, wealthy, educated). I am fine. But maybe it would have been good if someone told me I was already fine. Not to build my self-confidence (though no harm in that), but to acknowledge the world as a continuous place, instead of believing that one will ‘arrive’ in the world. We cannot arrive in the world, as worlds are constantly arriving. We need continuous ‹link›MOPlanguage‹/link›. There is no platform waiting for you to get on board, there is no ‘way of being’ or mode awaiting your growth.‹/paragraph›

+ +‹paragraph›What can we give to a future that is not awaiting our arrival? The ‹link›Hfuture‹/link› needs a language that does not identify the future as a separate era. It needs a language in which the deadening force of words – tense – is countered with presence, continuous life. We need a language that is not old, nor presents itself too enthusiastically as ‘new,’ thus becoming commercial-like, claiming and promising ‘newness’ in order to legitimatize its existence. What does language need? It needs faith. It needs speakers (and listeners) who believe in its performativity, who recognize the effects of language, understanding that the expression (of an event, an experience) actually changes the event, the experience. It needs speakers who believe in plurality and constant noticing. This way, the performativity of words will not create a chain of sameness and definitions will not stall life into comprehensible situations that can be compared and strategically used for progress.‹/paragraph› +

+‹paragraph›I listen to “Low Lights” nearly every day, when running in the same park and making the same laps. I only run when I feel healthy, but when I don’t run, I don’t feel healthy. That too is a lapse. The running is by no means making me healthy. There isn’t one assignable cause for how I feel. When I run, it is not like I’m trying to get through. It is the actual running, the moving, that excites me. I pass people whom I have passed for years and I always see new people. Some may see me. I don’t hate the hill halfway through my 6K run, I’m with the hill, not getting over it or through it. My heart beat rises and I hear the singer’s worship, her expression of love and thereby the existence of love. I suddenly realize that, of course, talking to or about or with God is a way to eternalize the conversation. A feminist queer language may well be that: God-language. A God-language without the need for one grand Lord listening and speaking, but an eternal effort from all, allowing everything to be alive – amorphous and recognized.‹/paragraph›‹/section›
+


+
+‹section› + +

+
    +

  1. ‹footnote›West, K. 2016. Low Lights. The Life of Pablo.‹/footnote›

  2. +

  3. ‹footnote›My expectation that her worship was meant for another human, might not only say something about my secular upbringing but may also reveal that I’m listening with white ears – taking in consideration that my white, secular Dutch background probably limits my ‹link›MOHinterpretation‹/link› of Kanye West’s music.

  4. +

  5. ‹footnote›I’m here using ‘Him’ to refer to God, as the singer does. Let’s acknowledge that some also refer to god as She (‘I met god, she’s black’) or without using gender binary terms. Islamic scholar Amina Wadud refers to Allah as ‘Trans.’ I am also speaking about heterosexual love here, because “Low Light” refers to girl-boy love. This fits well with my argument, as my initial hesitation with the text – finding it overtly romantic – certainly has to do with encountering a surplus of straight love in songs, movies, commercials. As I state in footnote 1, I might be ignoring specifics about black love by considering this girl-boy love ‘straight.’ Scholars like Saidiya Hartman and Alexis Pauline Gumbs would argue that ‘black’ and ‘queer’ are interchangeable, as black people are never gender conformative in a world ruled by white norms.‹/footnote›

  6. +

  7. ‹footnote›Think about the way the Dutch Prime Minister Mark Rutte defended the racist figure Black Pete (‘Zwarte Piet’). He stated: “Black Pete is Black, the word itself says it, nothing I can change about that,” pretending the nature of the figure itself creates the description ‘Black Pete,’ while not acknowledging that naming something ‘black’ makes it black, while reproducing the possibility of using ‘black’ as a description and pretending it is a description only.‹/footnote›

  8. +

  9. ‹footnote›Tsing, Anna Lowenhaupt. The mushroom at the end of the world: on the possibility of life in capitalist ruins. Princeton, NJ: Princeton University Press, 2015.‹/footnote›

  10. +

  11. ‹footnote›A home care organization in the Netherlands.‹/footnote›

  12. +
‹/section› + + + \ No newline at end of file diff --git a/TENSE/TENSE.pdf b/TENSE/TENSE.pdf new file mode 100644 index 0000000..6d0df87 Binary files /dev/null and b/TENSE/TENSE.pdf differ diff --git a/TENSE/Tense_response.html b/TENSE/Tense_response.html new file mode 100644 index 0000000..14b2f68 --- /dev/null +++ b/TENSE/Tense_response.html @@ -0,0 +1,1739 @@ + + + + + + + + + + + + + +‹body› +‹/body› + + +
+ +
+ + + + + + + + + + + + logo + + + + + ‹title›Tense‹/title› + +

+ + +
+ ‹introduction›
‹author›Eilit Marom‹/author›
(Haifa), + ‹artist›Anna Massoni‹/artist› (Paris), + ‹artist›Elpida Orfanidou‹/artist› (Berlin/Athens), + ‹artist›Adina Secretan‹/artist› (Lausanne), and + ‹artist›Simone Truong‹/artist› (Zurich) are five creators that conceived, choreographed and +performed the performance (To) Come and See together. The +project was initiated in 2014 when Simone Truong proposed a +research about the notion of eroticism. She wanted to open up the +discourse in a larger context with other accomplices. What began +as a curiosity became a journey of multiple gatherings, researches +and performances all over the world. Along the way, the widely +varied experiences and encounters made the project develop and +grow organically into a triptych. Since September 2017 the work +also includes (To) Keep in Touch - a workshop on touch with +local residents, and (To) Give a Hand - a durational performative +experience with the workshop participants.‹/introduction›
+

+‹quote› « while reading, touch the paper with your eyes » ‹/quote› + +


+
‹section› +

‹subtitle›Hello‹/subtitle›

+ +

‹paragraph› +We are Anna, Adina, Eilit, Elpida +and Simone and we invite you to +play. The space you are in right +now is your playground, you can +claim it as an ecosystem where +tenderness, intimacy and even +fear can appear. The instructions +written here offer you ways to +operate in it. Use the game board +map to create your own path. +Remember one door needs to be +opened before we can go to the +next, but the path to open each +door is unknown, it has to be +worked-through in real-time. +There is a secret « toolbox » on +the side at your disposal made +of verbs. You can apply them to +each room and behaviors written +on the map while following it, +and discover the constant path. +Listen, so serendipity could +appear by itself, observing the +coincidences, together and +alone. Everything matters. There +is no goal or climax. Everything +keeps TENSE because it’s +ongoing. Everything keeps +unfolding, surfing the waves of +desire.
+It is like an endless kiss..‹/paragraph›





+ ‹image›Plan‹/image›

+ + +‹about› +‹info›Reinterpretation‹/info› + ‹artist› Martin Foucaut ‹/artist› +‹info›Original artistic response‹/info› + ‹artist› Eilit Marom ‹/artist› + ‹artist› Anna Massoni ‹/artist› + ‹artist› Elpida Orfanidou ‹/artist› + ‹artist› Adina Secretan ‹/artist› + ‹artist› Simone Truong ‹/artist› + + +
‹section› +‹paragraph› +
I enter the labyrinth,
+Of the vibrating facts in front of +my body.
+I sing their surface;
+The textures of each are my +nests for the night.
+I am happy to sense you around;
+And then I can taste time.
+Faithfully.
+ ‹/paragraph›


+ ‹image›Plan‹/image›

+
+‹image›Plan‹/image›

+‹image›Plan‹/image›

+ +‹quote› « has the light changed ? » ‹/quote› +‹/section› +
+
+
+
+‹section› +‹paragraph› +(To) Come and See is not merely a performance. +Rather, it is an experience where one is allowed to +surrender, let go of aim and control and feel vulnerability +and fear whilst feeling protected by genuine +tenderness and sensuality. +The practice explores the idea of an erotic dramaturgy, +which claims to stay open and therefore +turns sensuality into a liberating experience, free of +the idea of a goal. Between proximity and distance, +disappearing and presence, a sensual landscape, +joyful and uncanny, emerges. +Along the way, the widely varied experiences and +encounters made the project develop and grow +organically: one and half years after the premier +of (To) Come and See, the work has been extended +to a to a triptych including (To) Keep in Touch, a +series of workshops about touch, and (To) Give a +Hand, a durational performance about desire with +the participants from the workshops.‹/paragraph› +‹/section› +
+
+
+
‹section› +‹credits›
+Concept, Choreography, Performance / Simone Truong, Eilit Marom, Anna Massoni, Elpida Orfanidou, Adina Secretan +‹/credits›
+

+‹credits›
+Light, Stage / Roger
+‹/credits›
+

+‹credits›
+Studer - Mask / Dana Hesse, Katharina Kroll
+‹/credits›
+

+‹credits›
+Dramaturgy / Igor Dobricic
+‹/credits›
+

+‹credits›
+Outside eye / Jessica Huber
+‹/credits›
+

+‹credits›
+Production management / Anke Hoffmann
+‹/credits›
+

+‹credits›
+Assistance / Samira Bösch.
+‹/credits›
+

+‹credits›
+Production / association Overseas
+‹/credits›
+

+‹credits›
+Coproduction / Gessnerallee Zürich, Les +Rencontres Chorégraphiques Internationales de +Seine-Saint-Denis, Théâtre Sévelin 36 Lausanne +Picture / Flurin Bertschinger
+‹/credits›
+‹/section›
+ + + \ No newline at end of file diff --git a/TENSE/Words-for-the-Future---TENSE---RESPONSE-resampled.pdf b/TENSE/Words-for-the-Future---TENSE---RESPONSE-resampled.pdf new file mode 100644 index 0000000..60297c6 Binary files /dev/null and b/TENSE/Words-for-the-Future---TENSE---RESPONSE-resampled.pdf differ diff --git a/TENSE/index.html b/TENSE/index.html new file mode 100644 index 0000000..8142830 --- /dev/null +++ b/TENSE/index.html @@ -0,0 +1,1689 @@ + + + + + + + + + + + + + +‹body› +‹/body› + + +
+ +
+ + + + + + + + + + + + logo + + +
+ + ‹title›Tense‹/title› + +
+

+ +
+ ‹bio›‹author›Simon(e) van Saarloos‹/author› is a writer and philosopher, living +in Amsterdam and New York City. Simon(e) writes the “e” in her +name between parantheses because she questions gender norms +and doubts anything that appears ‘as given’ or self-evident. Also, +what’s between parentheses might be more meaningful than what +is said to be meaningful. She is the author of three books (columns, +essay, fiction) Ik deug/deug niet [To Be Good or Not Be Good], Het +monogame drama [The monogamy Drama] and De vrouw die [The +Woman Who]. She also writes theatre and poetry and performs +on stage as a lecturer, activist and interviewer. In the last Dutch +general elections Simon(e) was a candidate for the political party +led by Sylvana Simons. She is currently writing a book on the trial + against Geert Wilders.‹/bio›
+

+ +‹song› +‹line›You want me to give you a testimony about my life ‹/line› +
‹line› And how good he’s been to me ‹/line› +
‹line› I don’t know what to tell you about him ‹/line› +
‹line› I love him so much with all my heart and my soul ‹/line› +
‹line› With every bone in my body I love him so much ‹/line› +
‹line› Because he’s done so much for me ‹/line› +
‹line› Every morning ‹/line› +
‹line› Every day of my life ‹/line› +
‹line› I won’t always be crying tears ‹/line› +
‹line› In the middle of the night, and I won’t always have to wake up ‹/line› +
‹line› By myself wondering how I’m gonna get through the day ‹/line› +
‹line› I won’t always have to think about what I’m gonna do ‹/line› +
‹line› And how I’m gonna, how I’m gonna make it ‹/line› +
‹line› How I’m gonna get there, because he… ‹/line› +
‹line› He’s gonna be there for me ‹/line› +
‹line› (…) ‹/line› +
‹line› It feels so good to be free ‹/line› +
‹line› To be accepted for who you are and loved no matter what. ‹/line›

+‹/song› +‹footnote›1‹/footnote›
+ + +‹about› +‹info›Reinterpretation‹/info› + ‹artist› Martin Foucaut ‹/artist› +‹info›Original contributor‹/info› +‹author› Simon(e) van Saarloos ‹/author› +‹title› Tense ‹/title› +‹/about› + + +


+
‹section› +

‹subtitle›Words That Do Not Kill.‹/subtitle›

+ +

‹paragraph› For someone growing up non-religious, this intro on Kayne West’s new album, The Life of Pablo, made me understand something I never had before. The song starts in such a sensuous way, that I truly thought the singer was giving me an account of her longing for ‘him,’ a fleshy him, a human him, a flawed but trustworthy male. Instead, she was expressing her love and trust in God. This only becomes clear at the end of her pledge, in the last two sentences: “Oh Lord thank you, You are the joy of my life.” Interestingly enough, it was only then that I was able to enjoy this spoken song called “Low Lights.” As, when I still thought the singer was displaying her love for a human him (not Him), I considered the lyrics overtly romantic, overtly dependent. This of course says a lot about my own beliefs about love (just as much as it says about what we are conditioned to expect and recognize as love in music, movies, and other popular expressions). + + +‹footnote›2‹/footnote› As soon as I realized it was about her love for God, I was totally drawn in, immersed by the intensity of her submission to Him. + +‹footnote›3‹/footnote› And suddenly I understood that it was her strong language that displayed, inhabited, shaped, constructed, and created her love and trust for him. Her language wasn’t just a true account of her worship, the language generated and endorsed the love. The love existed because of her saying it out loud.‹/paragraph›

‹/section›
+ + +
‹section› +

‹subtitle›Surrender‹/subtitle›

+ +

‹paragraph› For me, growing up secular and without spiritual rituals, it seemed impossible to start believing in a higher power that can be named as ‘Lord.’ Theoretically, I may want to submit to one idea or force, but it is exactly this longing to surrender that seems to suspend the possibility of actually belief. Wanting to submit isn’t the same as submission itself – it is the incapacity of submitting to submission. Being able to view submission, as something one can do, is exactly what withholds submission. However, when I heard this singer in “Low Lights,” I suddenly realized I could do that, I could express a message in a convinced, rhetorical, and descriptive manner, without necessarily believing the content of this message.‹/paragraph›

+ +‹paragraph›I love language. I love language so much that I can sound very convincing saying just about anything. I could express submission, whether or not I believe that I am truly feeling submission. In this convinced language, by expressing surrender I would experience surrender because the language of worship and submission is not descriptive but performative. Words create. Words do not just describe, they are gestures confirming and producing realities.‹footnote›4‹/footnote› As love is an abstraction, and not, for example, a chair one can point to, stating ‘I love him so much’ is the love.‹/paragraph› + +‹paragraph›My understanding of “Low Lights” comes from this trickle-down scheme: 1) Being unable to hear a person expressing Person-To-God Love (PTGL). 2) Rejecting Girl-To-Boy Love (GTBL), but expecting and thereby accepting GTBL’s existence. 3) Realizing that GTBL is actually PTGL; thus by acknowledging GTBL, becoming able to acknowledge PTGL.‹/paragraph› + +‹paragraph›It wasn’t just this trickle down love-scheme that allowed me to gain some understanding of the depth of expressing worship. It was the singer’s voice too. Her voice sounds so joyous and rich, it actually reminded me of having sex, of my lover telling me I scream ‘like a wounded animal.’ Because my lover draws this image, allowing my screeches of joy to leave the bedroom through a metaphor, the sounds I make became something totally new in my own ears. My lover illuminated my responsive sounds through a metaphor, joyfully describing my joy. I had forgotten to hear my own sounds, they belonged to having sex, but until then, they had no identity or noticed existence outside of that moment. The same happened when she ‹anchor›described‹/anchor› my cunt. She described its shapes and textures and colors. At first it made me shy. But the next time we had sex, I noticed how her descriptions made my ‹anchor›experience‹/anchor› different. For the first time I consciously experienced the thickness of my inner lips, the swollenness of my clit. Her words had set these parts of my cunt ‘aside;’ her words placed them outside of my body and allowed me to have a fuller experience of my body. For me, the words she used are more than a description working as an intensifier. Her noticing evoked noticing. The unquestioned way she described my body made my body feel – totally, fully – as she had described it. I have never experienced myself as one thing true or full, but due to her confident description I could feel myself fully being her description: thick, swollen, screaming.‹/paragraph› + +
Broken Image‹image›This image may contain: a cunt‹/image› +
+ +‹paragraph›This, however, does not mean that I feel defined. I can confidently say that her ‹anchor›descriptions‹/anchor› are relative as no genitals are average and all adjectives that she finds truth in are a matter of perception. It is not like her description became ‘facts about my cunt.’ It is not the exact truth of her words, but our joint submission to her expression that shaped the totality of my experience. If her description had any other goal than lovingly celebrating my body and its sounds, her words would have had a different effect. If she had meant to scale my genitals and sounds, comparing them, rating them, her metaphor would have felt reducing. The metaphor wouldn’t allow me to experience full oneness, the metaphor would reduce me to being my inner lips, just because her description was meant value determining. In that case we’d encounter the moment when words and metaphors turn into definitions, locking a reality down in order either to compare, classify, appraise.‹/paragraph›‹/section›
+


+ +
‹section› +

‹subtitle›Tense ‹/subtitle›

+ +

‹paragraph›Why am I describing this intimate body/language experience? Because I was surprised by the thorough, alive, and bodily experience of words. I’m a lover of words, but I’m very much aimed at language’s shortcomings. One of the difficulties of language I have recently been involved with, is the gap between an ‹link›Hevent‹/link› and the moment this event is described. Anthropologist Elizabeth Povinelli calls this gap ‘tense.’ Even now, just by recalling her theory on tense in her book Economies of Abandonment, I’m sort of finalizing her theory, presenting it as something done and seizable, instead of as the continuous thinking she is trying to surface. Language ‹link›Hkills‹/link› continuation. When we describe something, we deny the continuity of that which we describe. When we describe something or someone, that something or someone still exists beyond and without our description. The description itself however is seen as the carrier of some kind of truth. The description is taken serious. The description allows us to look at something, rather than living with it.‹/paragraph›

+ + +
Broken Image‹image›This image may contain: an event ‹/image› +
+ + +‹paragraph›The dilemma that tense puts forward has been bugging me: how can I use words without killing what I’d like to draw attention to? How can we display continuous time while using language? Language itself is constantly drawing from the past. You do not have to be a scholar in linguistics to understand that every single word needs a memory – not a sentimental or deeply felt one per se – but in order to use a word we need to at least remember its meaning, remember that it has a meaning, remember that a word has a certain length and shape – that certain letters are part of the word while others are not. I felt I was experiencing continuousness of language when I was having sex and feeling my cunt and hearing my screams as my lover had described it. The descriptions became ‹link›Oexperience‹/link›.‹/paragraph› + +‹paragraph›The in-between time defined as tense, creates a certain superiority of the person speaking, especially as the person speaking starts to claim a moment in time and space. While language kills what is being described, it enlivens the speaker. Questioning tense is a ‹link›Rfeminist practise‹/link›, as feminism is concerned with power relations and the inequalities and precarities it produces. Feminism maps and redistributes who holds space, time, and liveability. Questioning tense means one is focused on the livingness, the aliveness of what is described. It means that the continuous (well-)being of what is described, has priority. This demands the courage to let difficulty appear and remain, instead of crediting oneself (or the speaker) with making the described understandable, captured, or seizable.‹/paragraph› + +‹paragraph›‹link›LContinuity‹/link› is a feminist practise, as it asks for constantly paying attention. A noticing and attention not only aimed at what you already know or what feels close to you, but also of that which escapes your attention because of your positionality. This continuous noticing is necessary to re-direct and prevent an unequal distribution of attention. For example, the quotidian has often been seen as less important, than explicit political and public events. While feminist speakers often want to give an account of the more ‘forgotten’ narratives – realizing the status quo rests on benefiting a few dominant narratives – using language to create proximity can just as well trap what is described. What is described can sometimes even be more easily celebrated and embraced, because it appears dead and can be embraced as something standing still, a non-continuous world. Therefore, this feminist practise, or releasing tense, needs to be a ‹link›Hqueer feminist practise‹/link›. Queer because the embrace of what’s described cannot be a straight one, it is a messy sort of embrace in which it is unclear what embraces what: does the language embrace the listener, does the listener embrace the description, does the event described embrace the continuous language that is trying to linguistically engage the event? It’s an amorphous embrace with few coordinates. It’s an embrace of which it is unsure whether it is an embrace. It is moving, taking form, forming. Looking at it does not exist, it demands noticing with. The noticing and the performative effect of this noticing happens simultaneously and inseparable. There is neither an end to the change nor to the noticing. Noticing change is not meant to formulate strategy, or to expect an outcome. The queer part about this is that change is valued in itself; the change is a goal in itself.‹/paragraph› +‹/section›
+ + +
‹section› +

‹subtitle›Superiority of Arrival‹/subtitle›

+

+ +

‹paragraph› Traditionally, there is the assumption that any act that appears queer and rebellious will disappear when a person matures. Age gives transitional possibilities. Ageing is a hopeful thing for those unwilling to accept present conditions. Underlining age, gaining years as the passing of time, and expecting evolution when ageing, reveals a linear conception of growth: when you get older, you will ‘move past’ things. It is very difficult to do without this notion of progress, to imagine a life without progress seems almost impossible, let alone: “to imagine justice without progress,” as anthropologist Anna Tsing so beautifully questions in her book The Mushroom at the End of the World: On The Possibility of Life in Capitalist Ruins.‹footnote›5‹/footnote› Often, when we speak about progress, progress is not only seen as a way to ‘improve’ life; celebrating progress is often used to debunk what was before. We see this with children displaying ‘queer behaviour,’ that parents think they will get over it and say, ‘It is just a phase’ (this too is often said of bisexuality, also among adults). Here I want to include the notion of ‘arriving.’ The expectations that we will later ‘arrive’ at a certain insight, we arrive at a better place in our lives, closer to something real, an arrival at ‘home.’ We tend to forget that what we understand as real is and only is the present. When we feel ‘unheimisch’ or ‘unreal,’ this is the real unreal feeling of the present.‹/paragraph›

+ +
Broken Image‹image› +This image may contain: one person, arriving ‹/image› +
+ +‹paragraph›By inserting the word ‘arrive’ here, I also come to think of ‘superiority,’ similar to the superiority of the speaker or writer claiming and deadening the continuity of the described. Columbus ‘discovered’ the Americas, meaning all the life that was there before Columbus arrived, was not considered meaningful or even living at all. It was no life. It only became life as he recognized it. Or so the history narrative we are accustomed to, latently (but bluntly) assumed When one arrives, one remembers the journey, but one does not acknowledge what was there before arrival or during the journey. Whenever there is a place to arrive, the place must have – in some way or another – existed all along. Those who arrive – whether at an insight, a conclusion, at happiness, or at mature behaviour – neglect the existence of that which already there. This goes hand in hand with a certain feeling of superiority, as it is one’s own arrival that’s central, not the ongoing existence that one comes to recognize. The efforts of the journey get the most attention. The common, inspirational motto ‘It’s all about the journey’ forgets that the person journeying demands an awaiting point of departure and arrival, unless one would state, ‘all is journey.’ When we think about progress, similar feelings of superiority come into play. Often, when someone poses, like Anna Tsing, that it might be possible and at least interesting to try and imagine a world without progress, this has historically been countered with a positivist belief in science. Especially medical science sounds very convincing. It’s a doctor’s duty to improve and possibly prolong (and thus progress?) life.‹/paragraph› + +‹paragraph›I have experienced a short lifetime in a wheelchair. On a cold day in March, I woke up, then ten years old, and my hip was hurting so much that I couldn’t walk. Before that, I did sports everyday. Since that morning, I could only move in a wheelchair or walk short spans using crutches. I’m grateful that this sudden injury slowly disappeared after two years. Doctors used prednisone medications on me, the physical therapist tried different exercises, and my parents were wealthy enough to rent a better wheelchair than the free chair you are given by Thuiszorg.‹footnote›6‹/footnote› All of these factors helped me get better. But I was only helped to get through this. Why did I not learn to live with this injury? Even signs of progress, such as managing the wheelchair better, were seen as a sign of decline at the same time, as it meant I was getting better at something which was not considered ‘good’ or healthy. Living in a world made to be unsuitable for wheelchair users or other non-conformative bodies, I’m utterly happy that the pain in my hip went away. The point is, I have lived two years in my life in which I was getting through a situation. I was living through life, while not actually living life, living with. Is this why I remember nearly nothing of that time? Because I arrived at the other side – being able to walk again, lucky and ‘healthy’ – and upon my arrival I could forget that all worlds and all sides that are always already out there, even if you are not experiencing and enduring them.‹/paragraph› +‹/section›
+ +


+
‹section› +

‹subtitle›Being With
Instead of Getting Through‹/subtitle›

+

+ +

‹paragraph› In retrospect, this way of living may have mirrored they way I was living life before landing in a wheelchair. As a child, I was rather unhappy. I listened to Marilyn Manson to express this unhappiness, not to fuel it. I dressed in black and painted my room black, I collected fake skulls and bracelets with studs to feel surrounded. People wanted to make me feel better, but they especially told me that I would feel better. It would get better, I was told, because I would grow older and find my way. People trusted I would find my way maybe especially because I was a white kid from a reasonable wealthy and educated family. All would be fine as the society I grew up in, had space for people like me (white, wealthy, educated). I am fine. But maybe it would have been good if someone told me I was already fine. Not to build my self-confidence (though no harm in that), but to acknowledge the world as a continuous place, instead of believing that one will ‘arrive’ in the world. We cannot arrive in the world, as worlds are constantly arriving. We need continuous ‹link›MOPlanguage‹/link›. There is no platform waiting for you to get on board, there is no ‘way of being’ or mode awaiting your growth.‹/paragraph›

+ +‹paragraph›What can we give to a future that is not awaiting our arrival? The ‹link›Hfuture‹/link› needs a language that does not identify the future as a separate era. It needs a language in which the deadening force of words – tense – is countered with presence, continuous life. We need a language that is not old, nor presents itself too enthusiastically as ‘new,’ thus becoming commercial-like, claiming and promising ‘newness’ in order to legitimatize its existence. What does language need? It needs faith. It needs speakers (and listeners) who believe in its performativity, who recognize the effects of language, understanding that the expression (of an event, an experience) actually changes the event, the experience. It needs speakers who believe in plurality and constant noticing. This way, the performativity of words will not create a chain of sameness and definitions will not stall life into comprehensible situations that can be compared and strategically used for progress.‹/paragraph› +‹paragraph›I listen to “Low Lights” nearly every day, when running in the same park and making the same laps. I only run when I feel healthy, but when I don’t run, I don’t feel healthy. That too is a lapse. The running is by no means making me healthy. There isn’t one assignable cause for how I feel. When I run, it is not like I’m trying to get through. It is the actual running, the moving, that excites me. I pass people whom I have passed for years and I always see new people. Some may see me. I don’t hate the hill halfway through my 6K run, I’m with the hill, not getting over it or through it. My heart beat rises and I hear the singer’s worship, her expression of love and thereby the existence of love. I suddenly realize that, of course, talking to or about or with God is a way to eternalize the conversation. A feminist queer language may well be that: God-language. A God-language without the need for one grand Lord listening and speaking, but an eternal effort from all, allowing everything to be alive – amorphous and recognized.‹/paragraph›‹/section›
+


+
+‹section› + +

+
    +

  1. ‹footnote›West, K. 2016. Low Lights. The Life of Pablo.‹/footnote›

  2. +

  3. ‹footnote›My expectation that her worship was meant for another human, might not only say something about my secular upbringing but may also reveal that I’m listening with white ears – taking in consideration that my white, secular Dutch background probably limits my ‹link›MOHinterpretation‹/link› of Kanye West’s music.

  4. +

  5. ‹footnote›I’m here using ‘Him’ to refer to God, as the singer does. Let’s acknowledge that some also refer to god as She (‘I met god, she’s black’) or without using gender binary terms. Islamic scholar Amina Wadud refers to Allah as ‘Trans.’ I am also speaking about heterosexual love here, because “Low Light” refers to girl-boy love. This fits well with my argument, as my initial hesitation with the text – finding it overtly romantic – certainly has to do with encountering a surplus of straight love in songs, movies, commercials. As I state in footnote 1, I might be ignoring specifics about black love by considering this girl-boy love ‘straight.’ Scholars like Saidiya Hartman and Alexis Pauline Gumbs would argue that ‘black’ and ‘queer’ are interchangeable, as black people are never gender conformative in a world ruled by white norms.‹/footnote›

  6. +

  7. ‹footnote›Think about the way the Dutch Prime Minister Mark Rutte defended the racist figure Black Pete (‘Zwarte Piet’). He stated: “Black Pete is Black, the word itself says it, nothing I can change about that,” pretending the nature of the figure itself creates the description ‘Black Pete,’ while not acknowledging that naming something ‘black’ makes it black, while reproducing the possibility of using ‘black’ as a description and pretending it is a description only.‹/footnote›

  8. +

  9. ‹footnote›Tsing, Anna Lowenhaupt. The mushroom at the end of the world: on the possibility of life in capitalist ruins. Princeton, NJ: Princeton University Press, 2015.‹/footnote›

  10. +

  11. ‹footnote›A home care organization in the Netherlands.‹/footnote›

  12. +
‹/section› + + + \ No newline at end of file diff --git a/TENSE/map.html b/TENSE/map.html new file mode 100644 index 0000000..8f551f8 --- /dev/null +++ b/TENSE/map.html @@ -0,0 +1,1792 @@ + + + + + + + + + + + + + + +‹body› +‹/body› + + +
+ +
+ + + + + + + + + + + + logo + + + +

+ + + +

+‹song› +‹line›You want me to give you a testimony about my life‹/line› +
‹line› And how good he’s been to me‹/line› +
‹line› I don’t know what to tell you about him‹/line› +
‹line› I love him so much with all my heart and my soul‹/line› +
‹line› With every bone in my body I love him so much‹/line› +
‹line› Because he’s done so much for me‹/line› +
‹line› Every morning‹/line› +
‹line› Every day of my life‹/line› +
‹line› I won’t always be crying tears‹/line› +
‹line› In the middle of the night, and I won’t always have to wake up‹/line› +
‹line› By myself wondering how I’m gonna get through the day‹/line› +
‹line› I won’t always have to think about what I’m gonna do‹/line› +
‹line› And how I’m gonna, how I’m gonna make it‹/line› +
‹line› How I’m gonna get there, because he…‹/line› +
‹line› He’s gonna be there for me‹/line› +
‹line› (…)‹/line› +
‹line› It feels so good to be free‹/line› +
‹line› To be accepted for who you are and loved no matter what.‹/line›

+‹/song› +‹footnote›1‹/footnote›
+ +


+
‹section› +

‹subtitle›Words That Do Not Kill.‹/subtitle›

+ +

‹paragraph› For someone growing up non-religious, this intro on Kayne West’s new album, The Life of Pablo, made me understand something I never had before. The song starts in such a sensuous way, that I truly thought the singer was giving me an account of her longing for ‘him,’ a fleshy him, a human him, a flawed but trustworthy male. Instead, she was expressing her love and trust in God. This only becomes clear at the end of her pledge, in the last two sentences: “Oh Lord thank you, You are the joy of my life.” Interestingly enough, it was only then that I was able to enjoy this spoken song called “Low Lights.” As, when I still thought the singer was displaying her love for a human him (not Him), I considered the lyrics overtly romantic, overtly dependent. This of course says a lot about my own beliefs about love (just as much as it says about what we are conditioned to expect and recognize as love in music, movies, and other popular expressions). + + +‹footnote›2‹/footnote› As soon as I realized it was about her love for God, I was totally drawn in, immersed by the intensity of her submission to Him. + +‹footnote›3‹/footnote› And suddenly I understood that it was her strong ‹link›MOPlanguage‹/link›. that displayed, inhabited, shaped, constructed, and created her love and trust for him. Her ‹link›MOPlanguage‹/link›. wasn’t just a true account of her worship, the ‹link›MOPlanguage‹/link›. generated and endorsed the love. The love existed because of her saying it out loud.‹/paragraph›

+‹/section›
+


+ +
‹section› +

‹subtitle›Surrender‹/subtitle›

+ +

‹paragraph› For me, growing up secular and without spiritual rituals, it seemed impossible to start believing in a higher power that can be named as ‘Lord.’ Theoretically, I may want to submit to one idea or force, but it is exactly this longing to surrender that seems to suspend the possibility of actually belief. Wanting to submit isn’t the same as submission itself – it is the incapacity of submitting to submission. Being able to view submission, as something one can do, is exactly what withholds submission.However, when I heard this singer in “Low Lights,” + +‹quote› +I suddenly realized I could do that, I could express a message in a convinced, rhetorical, and descriptive manner, without necessarily believing the content of this message.‹/quote› + +

‹paragraph›I love ‹link›MOPlanguage‹/link›.. + +I love ‹link›MOPlanguage‹/link› so much that I can sound very convincing saying just about anything. I could express submission, whether or not I believe that I am truly feeling submission. + +‹quote› +In this convinced ‹link›MOPlanguage‹/link›., by expressing surrender I would ‹link›Oexperience‹/link›surrender because the ‹link›MOPlanguage‹/link›. of worship and submission is not descriptive but performative.‹/quote› + +‹quote› +Words create. Words do not just describe, they are gestures confirming and producing realities. +‹/quote›‹footnote›4‹/footnote› + + As love is an abstraction, and not, for example, a chair one can point to, stating ‘I love him so much’ is the love.‹/paragraph›

+ +‹paragraph›My understanding of “Low Lights” comes from this trickle-down scheme: 1) Being unable to hear a person expressing Person-To-God Love (PTGL). 2) Rejecting Girl-To-Boy Love (GTBL), but expecting and thereby accepting GTBL’s existence. 3) Realizing that GTBL is actually PTGL; thus by acknowledging GTBL, becoming able to acknowledge PTGL.‹/paragraph› +

+ +‹paragraph›It wasn’t just this trickle down love-scheme that allowed me to gain some understanding of the depth of expressing worship. It was the singer’s voice too. Her voice sounds so joyous and rich, it actually reminded me of having sex, of my lover telling me I scream ‘like a wounded animal.’ Because my lover draws this image, allowing my screeches of joy to leave the bedroom through a metaphor, the sounds I make became something totally new in my own ears. + +‹quote› +My lover illuminated my responsive sounds through a metaphor, joyfully describing my joy. I had forgotten to hear my own sounds, they belonged to having sex, but until then, they had no identity or noticed existence outside of that moment. The same happened when she ‹anchor›described‹/anchor› my cunt. +‹/quote› + +‹quote› +She described its shapes and textures and colors. At first it made me shy. But the next time we had sex, I noticed how her ‹anchor›description‹/anchor› made my ‹anchor›experience‹/anchor› different. For the first time I consciously experienced the thickness of my inner lips, the swollenness of my clit. +‹/quote› + +Her words had set these parts of my cunt ‘aside;’ her words placed them outside of my body and allowed me to have a fuller ‹link›Oexperience‹/link›.‹quote› of my body. + +‹quote› +For me, the words she used are more than a ‹anchor›described‹/anchor› working as an intensifier. +‹/quote› + +Her noticing evoked noticing. + +‹quote› +The unquestioned way she described my body made my body feel – totally, fully – as she had described it. I have never experienced myself as one thing true or full, but due to her confident description I could feel myself fully being her ‹anchor›description‹/anchor›: thick, swollen, screaming. +‹/quote› + +‹/paragraph› +


+ +
Broken Image‹image›This image may contain: a cunt‹/image› +
+

+‹paragraph›This, however, does not mean that I feel defined. + +‹quote› +I can confidently say that her ‹anchor›descriptions‹/anchor› are relative as no genitals are average and all adjectives that she finds truth in are a matter of perception. It is not like her ‹anchor›description‹/anchor› became ‘facts about my cunt.’ It is not the exact truth of her words, but our joint submission to her expression that shaped the totality of my ‹link›Oexperience‹/link›.‹quote›. If her ‹anchor›description‹/anchor› had any other goal than lovingly celebrating my body and its sounds, her words would have had a different effect. +‹/quote› + +If she had meant to scale my genitals and sounds, comparing them, rating them, her metaphor would have felt reducing. + +‹quote› +The metaphor wouldn’t allow me to ‹link›Oexperience‹/link›.‹quote› full oneness, the metaphor would reduce me to being my inner lips, just because her ‹anchor›description‹/anchor› was meant value determining. +‹/quote› + + +In that case we’d encounter the moment when words and metaphors turn into definitions, locking a reality down in order either to compare, classify, appraise.‹/paragraph›‹/section›
+


+
‹section› +

‹subtitle›Tense‹/subtitle›

+ +

‹paragraph›One of the difficulties of ‹link›MOPlanguage‹/link›. I have recently been involved with, is the gap between an ‹link›Hevent‹/link› and the moment this event is described..‹/paragraph›

+ +

+
Broken Image‹image›This image may contain: an event ‹/image› +
+

+ + +‹paragraph›The dilemma that tense puts forward has been bugging me: how can I use words without killing what I’d like to draw attention to? How can we display continuous time while using ‹link›MOPlanguage‹/link›.? ‹link›MOPlanguage‹/link›. itself is constantly drawing from the past. You do not have to be a scholar in linguistics to understand that every single word needs a memory – not a sentimental or deeply felt one per se – but in order to use a word we need to at least remember its meaning, remember that it has a meaning, remember that a word has a certain length and shape – that certain letters are part of the word while others are not. + +‹quote› I felt I was experiencing continuousness of ‹link›MOPlanguage‹/link›. when I was having sex and feeling my cunt and hearing my screams as my lover had described it.‹quote› + +‹quote› +The ‹anchor›description‹/anchor› became ‹link›Oexperience‹/link›.‹quote› +

+ + + +‹paragraph›The in-between time defined as tense, creates a certain superiority of the person speaking, especially as the person speaking starts to claim a moment in time and space. + +‹quote› +While ‹link›MOPlanguage‹/link›. kills what is being described, it enlivens the speaker +.‹/quote› + + +Questioning tense is a ‹link›Rfeminist practise‹/link›, as feminism is concerned with power relations and the inequalities and precarities it produces. Feminism maps and redistributes who holds space, time, and liveability. + +‹quote› +Questioning tense means one is focused on the livingness, the aliveness of what is described. It means that the continuous (well-)being of what is described, has priority. This demands the courage to let difficulty appear and remain, instead of crediting oneself (or the speaker) with making the described understandable, captured, or seizable.‹/quote› + +‹/paragraph› +

+ + +‹paragraph›‹link›LContinuity‹/link› is a feminist practise, as it asks for constantly paying attention. A noticing and attention not only aimed at what you already know or what feels close to you, but also of that which escapes your attention because of your positionality. This continuous noticing is necessary to re-direct and prevent an unequal distribution of attention. For example, the quotidian has often been seen as less important, than explicit political and public ‹link›Hevents‹/link›. + +‹quote› +While feminist speakers often want to give an account of the more ‘forgotten’ narratives – realizing the status quo rests on benefiting a few dominant narratives – using ‹link›MOPlanguage‹/link›. to create proximity can just as well trap what is described. What is described can sometimes even be more easily celebrated and embraced, because it appears dead and can be embraced as something standing still, a non-continuous world. Therefore, this feminist practise, or releasing tense, needs to be a ‹link›Hqueer feminist practise‹/link›. Queer because the embrace of what’s described cannot be a straight one, it is a messy sort of embrace in which it is unclear what embraces what: does the ‹link›MOPlanguage‹/link›. embrace the listener, does the listener embrace the ‹anchor›description‹/anchor›, does the ‹link›Hevent‹/link› described embrace the continuous ‹link›MOPlanguage‹/link›. that is trying to linguistically engage the ‹link›Hevent‹/link›? +‹/quote› + +It’s an amorphous embrace with few coordinates. It’s an embrace of which it is unsure whether it is an embrace. It is moving, taking form, forming. Looking at it does not exist, it demands noticing with. The noticing and the performative effect of this noticing happens simultaneously and inseparable. There is neither an end to the change nor to the noticing. Noticing change is not meant to formulate strategy, or to expect an outcome. The queer part about this is that change is valued in itself; the change is a goal in itself.‹/paragraph› +‹/section›
+


+ +
‹section› +

‹subtitle›Superiority of Arrival‹/subtitle›

+ +

‹paragraph› Traditionally, there is the assumption that any act that appears queer and rebellious will disappear when a person matures. Age gives transitional possibilities. Ageing is a hopeful thing for those unwilling to accept present conditions. Underlining age, gaining years as the passing of time, and expecting evolution when ageing, reveals a linear conception of growth: when you get older, you will ‘move past’ things. It is very difficult to do without this notion of progress, to imagine a life without progress seems almost impossible, let alone: “to imagine justice without progress,” as anthropologist Anna Tsing so beautifully questions in her book The Mushroom at the End of the World: On The Possibility of Life in Capitalist Ruins.‹footnote›5‹/footnote› Often, when we speak about progress, progress is not only seen as a way to ‘improve’ life; celebrating progress is often used to debunk what was before. We see this with children displaying ‘queer behaviour,’ that parents think they will get over it and say, ‘It is just a phase’ (this too is often said of bisexuality, also among adults). Here I want to include the notion of ‘arriving.’ The expectations that we will later ‘arrive’ at a certain insight, we arrive at a better place in our lives, closer to something real, an arrival at ‘home.’ We tend to forget that what we understand as real is and only is the present. When we feel ‘unheimisch’ or ‘unreal,’ this is the real unreal feeling of the present.‹/paragraph›

+

+
Broken Image‹image› +This image may contain: one person, arriving ‹/image› +
+

+‹paragraph› + +‹quote› +By inserting the word ‘arrive’ here, I also come to think of ‘superiority,’ similar to the superiority of the speaker or writer claiming and deadening the ‹link›LContinuity‹/link› of the described. +‹/quote› + +Columbus ‘discovered’ the Americas, meaning all the life that was there before Columbus arrived, was not considered meaningful or even living at all. It was no life. It only became life as he recognized it. Or so the history narrative we are accustomed to, latently (but bluntly) assumed When one arrives, one remembers the journey, but one does not acknowledge what was there before arrival or during the journey. Whenever there is a place to arrive, the place must have – in some way or another – existed all along. Those who arrive – whether at an insight, a conclusion, at happiness, or at mature behaviour – neglect the existence of that which already there. This goes hand in hand with a certain feeling of superiority, as it is one’s own arrival that’s central, not the ongoing existence that one comes to recognize. The efforts of the journey get the most attention. The common, inspirational motto ‘It’s all about the journey’ forgets that the person journeying demands an awaiting point of departure and arrival, unless one would state, ‘all is journey.’ When we think about progress, similar feelings of superiority come into play. Often, when someone poses, like Anna Tsing, that it might be possible and at least interesting to try and imagine a world without progress, this has historically been countered with a positivist belief in science. Especially medical science sounds very convincing. It’s a doctor’s duty to improve and possibly prolong (and thus progress?) life.‹/paragraph› +

+‹paragraph›I have experienced a short lifetime in a wheelchair. On a cold day in March, I woke up, then ten years old, and my hip was hurting so much that I couldn’t walk. Before that, I did sports everyday. Since that morning, I could only move in a wheelchair or walk short spans using crutches. I’m grateful that this sudden injury slowly disappeared after two years. Doctors used prednisone medications on me, the physical therapist tried different exercises, and my parents were wealthy enough to rent a better wheelchair than the free chair you are given by Thuiszorg.‹footnote›6‹/footnote› All of these factors helped me get better. But I was only helped to get through this. Why did I not learn to live with this injury? Even signs of progress, such as managing the wheelchair better, were seen as a sign of decline at the same time, as it meant I was getting better at something which was not considered ‘good’ or healthy. Living in a world made to be unsuitable for wheelchair users or other non-conformative bodies, I’m utterly happy that the pain in my hip went away. The point is, I have lived two years in my life in which I was getting through a situation. I was living through life, while not actually living life, living with. Is this why I remember nearly nothing of that time? Because I arrived at the other side – being able to walk again, lucky and ‘healthy’ – and upon my arrival I could forget that all worlds and all sides that are always already out there, even if you are not experiencing and enduring them.‹/paragraph› +‹/section›
+ +


+
‹section› +

‹subtitle›Being With Instead of Getting Through‹/subtitle›

+

+ +

‹paragraph› In retrospect, this way of living may have mirrored they way I was living life before landing in a wheelchair. As a child, I was rather unhappy. I listened to Marilyn Manson to express this unhappiness, not to fuel it. I dressed in black and painted my room black, I collected fake skulls and bracelets with studs to feel surrounded. People wanted to make me feel better, but they especially told me that I would feel better. It would get better, I was told, because I would grow older and find my way. People trusted I would find my way maybe especially because I was a white kid from a reasonable wealthy and educated family. All would be fine as the society I grew up in, had space for people like me (white, wealthy, educated). I am fine. But maybe it would have been good if someone told me I was already fine. Not to build my self-confidence (though no harm in that), but to acknowledge the world as a continuous place, instead of believing that one will ‘arrive’ in the world. We cannot arrive in the world, as worlds are constantly arriving. We need continuous + +‹link›MOPlanguage‹/link›. + +There is no platform waiting for you to get on board, there is no ‘way of being’ or mode awaiting your growth.‹/paragraph›

+ +‹paragraph›What can we give to a ‹link›Hfuture‹/link› that is not awaiting our arrival? The ‹link›Hfuture‹/link› needs a + +‹link›MOPlanguage‹/link›. + +that does not identify the ‹link›Hfuture‹/link› as a separate era. It needs a + +‹link›MOPlanguage‹/link›. + +in which the deadening force of words – tense – is countered with presence, continuous life. We need a +‹link›MOPlanguage‹/link›. + +that is not old, nor presents itself too enthusiastically as ‘new,’ thus becoming commercial-like, claiming and promising ‘newness’ in order to legitimatize its existence. What does +‹link›MOPlanguage‹/link›. +need? It needs faith. It needs speakers (and listeners) who believe in its performativity, who recognize the effects of + +‹link›MOPlanguage‹/link›. + +, understanding that the expression (of an ‹link›Hevent‹/link›, an experience) actually changes the ‹link›Hevent‹/link›, the experience. It needs speakers who believe in plurality and constant noticing. This way, the performativity of words will not create a chain of sameness and definitions will not stall life into comprehensible situations that can be compared and strategically used for progress.‹/paragraph› +

+‹paragraph›I listen to “Low Lights” nearly every day, when running in the same park and making the same laps. I only run when I feel healthy, but when I don’t run, I don’t feel healthy. That too is a lapse. The running is by no means making me healthy. There isn’t one assignable cause for how I feel. When I run, it is not like I’m trying to get through. It is the actual running, the moving, that excites me. I pass people whom I have passed for years and I always see new people. Some may see me. I don’t hate the hill halfway through my 6K run, I’m with the hill, not getting over it or through it. My heart beat rises and I hear the singer’s worship, her expression of love and thereby the existence of love. I suddenly realize that, of course, talking to or about or with God is a way to eternalize the conversation. A feminist queer ‹link›MOPlanguage‹/link›. may well be that: God-language. A God-language without the need for one grand Lord listening and speaking, but an eternal effort from all, allowing everything to be alive – amorphous and recognized.‹/paragraph›‹/section›
+


+
+‹section› + +

+
    +

  1. ‹footnote›West, K. 2016. Low Lights. The Life of Pablo.‹/footnote›

  2. +

  3. ‹footnote›My expectation that her worship was meant for another human, might not only say something about my secular upbringing but may also reveal that I’m listening with white ears – taking in consideration that my white, secular Dutch background probably limits my ‹link›MOHinterpretation‹/link› of Kanye West’s music.

  4. +

  5. ‹footnote›I’m here using ‘Him’ to refer to God, as the singer does. Let’s acknowledge that some also refer to god as She (‘I met god, she’s black’) or without using gender binary terms. Islamic scholar Amina Wadud refers to Allah as ‘Trans.’ I am also speaking about heterosexual love here, because “Low Light” refers to girl-boy love. This fits well with my argument, as my initial hesitation with the text – finding it overtly romantic – certainly has to do with encountering a surplus of straight love in songs, movies, commercials. As I state in footnote 1, I might be ignoring specifics about black love by considering this girl-boy love ‘straight.’ Scholars like Saidiya Hartman and Alexis Pauline Gumbs would argue that ‘black’ and ‘queer’ are interchangeable, as black people are never gender conformative in a world ruled by white norms.‹/footnote›

  6. +

  7. ‹footnote›Think about the way the Dutch Prime Minister Mark Rutte defended the racist figure Black Pete (‘Zwarte Piet’). He stated: “Black Pete is Black, the word itself says it, nothing I can change about that,” pretending the nature of the figure itself creates the description ‘Black Pete,’ while not acknowledging that naming something ‘black’ makes it black, while reproducing the possibility of using ‘black’ as a description and pretending it is a description only.‹/footnote›

  8. +

  9. ‹footnote›Tsing, Anna Lowenhaupt. The mushroom at the end of the world: on the possibility of life in capitalist ruins. Princeton, NJ: Princeton University Press, 2015.‹/footnote›

  10. +

  11. ‹footnote›A home care organization in the Netherlands.‹/footnote›

  12. +
‹/section› + + + \ No newline at end of file diff --git a/TENSE/response_img_elements-01.png b/TENSE/response_img_elements-01.png new file mode 100644 index 0000000..340584d Binary files /dev/null and b/TENSE/response_img_elements-01.png differ diff --git a/TENSE/response_img_elements-02.png b/TENSE/response_img_elements-02.png new file mode 100644 index 0000000..b13c415 Binary files /dev/null and b/TENSE/response_img_elements-02.png differ diff --git a/TENSE/response_img_elements-03.png b/TENSE/response_img_elements-03.png new file mode 100644 index 0000000..d61b95b Binary files /dev/null and b/TENSE/response_img_elements-03.png differ diff --git a/TENSE/response_img_elements-04.png b/TENSE/response_img_elements-04.png new file mode 100644 index 0000000..4b5bbb4 Binary files /dev/null and b/TENSE/response_img_elements-04.png differ diff --git a/TENSE/style.css b/TENSE/style.css new file mode 100644 index 0000000..e69de29 diff --git a/TENSE/tense.ico b/TENSE/tense.ico new file mode 100644 index 0000000..3348983 Binary files /dev/null and b/TENSE/tense.ico differ diff --git a/TENSE/wftfs-Regular.otf b/TENSE/wftfs-Regular.otf new file mode 100644 index 0000000..a1c417d Binary files /dev/null and b/TENSE/wftfs-Regular.otf differ diff --git a/UNDECIDABILITY/UNDECIDABILITY.txt b/UNDECIDABILITY/UNDECIDABILITY.txt new file mode 100644 index 0000000..bccac5c --- /dev/null +++ b/UNDECIDABILITY/UNDECIDABILITY.txt @@ -0,0 +1,3 @@ +Undecidability Silvia Bottiroli Multiplying the Visible The word [i]undecidable[i] appears in [i]Six Memos for the Next Millennium[i] written by Italo Calvino in 1985 for his Charles Eliot Norton poetry lectures at Harvard University. In the last months of his life Calvino worked feverishly on these lectures, but died in the process. In the five memos he left behind, he did not only open up on values for a future millennium to come but also seemed to envision future as a darkness that withholds many forms of visibility within. Calvino’s fourth memo,[1][i]Visibility[i], revolves around the capacity of literature to generate images and to create a kind of “mental cinema” where fantasies can flow continuously. Calvino focuses on the imagination as “the repertory of what is potential; what is hypothetical; what does not exist and has never existed; and perhaps will never exist but might have existed.”[2] The main concern that he brings forth lies within the relation between contemporary culture and imagination: the risk to definitely lose, in the overproduction of images, the power of bringing visions into focus with our eyes shut and in fact of “[i]thinking[i] in terms of images.”[3] In the last pages of the lecture, he proposes a shift from understanding the fantastic world of the artist, not as indefinable, but as [i]undecidable[i]. With this word, Calvino means to define the coexistence and the relation, within any literary work, between three different dimensions. The first dimension is the artist’s imagination – a world of potentialities that no work will succeed in realizing. The second is the reality as we experience it by living. Finally, the third is the world of the actual work, made by the layers of signs that accumulate in it; compared to the first two worlds, it is “also infinite, but more easily controlled, less refractory to formulation.”[4]He calls the link between these three worlds “the undecidable, the paradox of an infinite whole that contains other infinite wholes.”[5] For Calvino, artistic operations involve, by the means of the infinity of linguistic possibilities, the infinity of the artist’s imagination, and the infinity of contingencies. Therefore, “[the] attempts to escape the vortex of multiplicity are useless.”[6] In his fifth memo, he subsequently focuses on [i]multiplicity[i] as a way for literature to comprehend the complex nature of the world that for the author is a whole of wholes, where the acts of watching and knowing also intervene in the observed reality and alter it. Calvino is particularly fascinated by literary works that are built upon a combinatory logic or that are readable as different narratives. The lecture revolves around some novels that contain multiple worlds and make space for the readers’ imaginations. The common source to all these experiments seems to rely in the understanding of the contemporary novel “as an encyclopedia, as a method of knowledge, and, above all, as a network of connections between the events, the people, and the things of the world.”[7] Therefore, let’s think visibility and multiplicity together, as: a multiplication of visibilities. They are traits specific to artistic production and define a context for the undecidable, or rather for undecidability, as the quality of being undecidable. Calvino seems to suggest that literature[8] can be particularly productive of futures, if it makes itself visible and multiple. Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world. We might stretch this line of thought a bit further and propose that art’s potentiality is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us. A strategy that is capable of producing different conditions of visibility. Embracing what we are capable to see but also think and imagine, to fantasise and conceptualise; and bringing into existence different configurations of public spaces, collective subjectivities, and social gatherings. Actual and Potential Worlds In fact, undecidability is a specific force at work that consciously articulates, redefines, or alters the complex system of links, bounds, and resonances between different potential and actual worlds. In this sense, undecidability is a quality specific to some artworks within which the three worlds that Calvino describes meet and yet remain untouched, autonomous, and recognizable. An artwork can indeed create a magnetic field where different actual worlds coexist and, by living next to each other yet not sharing a common horizon, generate a potential world. Then ‘potential’ does not mean ‘possible.’ In fact, if something is possible when it contains and under certain terms performs the possibility of its actualisation, a world is potential when it can maintain its potentiality and never actualize itself into one actual form. In particular, the potentiality generated by undecidable artworks is grounded in a logic of addition and contradiction that is specific of art. A logic of ‘and… and… and…’ as opposite to the logic of ‘either… or…’ that seems to rule reality. Artworks are places where contradictory realities can coexist without withdrawing or cancelling each other out. They can be sites of existence and of experience where images let go of their representational nature and just exist as such. None of the images of an artwork are being more or less real than the others, no matter whether they come as pieces of reality or as products of individual or collective fantasies. It is the art(work) as such that creates a ground where all the images that come into visibility share the same gradient of reality, no matter whether they harmoniously coexist or are radically conflicting. If every work builds up complete systems that are offered to its visitors or spectators to enter into – if the invitation of art is often that of losing the contact with known worlds in order to slip into others – something radically different happens within an art that practices its undecidability. Here, spectators are invited to enter the work’s fictional world carrying with themselves the so-called real world and all their other fictional worlds; a space is created where all these worlds are equally welcomed. The artwork may then be navigated either by only choosing one layer of reality, or by continuously stepping from one world to another – different dimensions are made available without any form of hierarchy or predicted relations. Such dynamics seems to occur in performative works in particular, as the contemporaneity of production, consumption, and experience that is typical of performance intensifies the possibility of undecidable links between different realities. Moreover, in the live arts the curatorial context is normally visible as well and provides one more layer to the work by framing or mediating it. Azdora A good example of an undecidable artwork is Markus Öhrn’s [i]Azdora[i], a long-term project that was initiated and coproduced by Santarcangelo Festival in 2015. As the festival artistic director at that time I had the chance to follow and support the project. The work was triggered by the encounter between the artist, in Santarcangelo for a research residency, and the feminine condition present in traditional family structures in this region of Italy. In particular, what struck him was the figure of the ‘azdora,’ a dialect word that means the ‘holder’ of the house and of the family – the woman who is in charge of the domestic life and of the labours of care. This figure is at the same time powerful, subordinate, and even repressed: through her devotion, she is sacrificed to the family and to the care of the relationships that keep it together. Interested in investigating this feminine figure and the possibility that it suggests of a matriarchal societal structure, the artist made a call for ‘azdoras’ to work together with him on the creation of a series of rituals and later on a concert. Both the rituals and the concert revolve around the possibility of emancipation and the exploration of the wild, even destructive side of the figure of the Azdora. Twenty-eight women committed to a long-term project together with Markus Öhrn and dived into his imagery and artistic world made of diverse ingredients among which were the tattoo culture, the cult of bodybuilding, and the noise music practice. At the same time, the ‘azdoras’ were asked to bring in their own ingredients; imageries, concerns, and desires. Together with the artist and the female musician ?Alos and with the mediation of the festival, they embarked into the adventure of entering a place that did not exist yet, creating a new set of rules and behaviours for themselves and for the spectators who would eventually join their rituals, attend their noise concert, or bump into their interventions in the public space during the festival period. Similar to other artistic projects that one could trace back to the practice of undecidability, [i]Azdora[i] mingles different realities and fantastic worlds and also activates a participatory dynamic, yet preserving “the grey [i]artistic[i] work of participatory art.”[9] In other words, it creates and protects a space of indeterminacy. In fact, [i]Azdora[i] is at the same time a performative picture, an artistic fantasy, a community theatre work, an emancipatory process, an ongoing workshop, a social ritual, and a concert. Furthermore, from the project a documentary movie and a sociological survey have been produced,[10] multiplying the possibility to access the work from different angles and via different formats. If the coexistence of different media already implies different angles, durations, discourses, and forms of spectatorship, the performance itself keeps an undecidable bound between its real and fictional ontologies. The performative work of [i]Azdora[i] is then intrinsically ‘political’ according to Rancière definition of ‘metapolitics:’ a destabilising action that produces a conflict vis à vis what is thinkable and speakable. [i]Azdora[i] allows different interpretations and produces conflicting discourses, yet remaining untouched. This does not necessarily mean complete though as, on the contrary, it is generating a multiplicity of different gazes that are all legitimate and complete but yet do not exhaust the work. This is what makes the performance itself unfulfilled and thus incomplete and open. A Multiplicity of Gazes An undecidable artwork is, in other words, a site where different and even contradictory individual experiences unfold and coexist, with no hierarchical structure and no orchestration. It is a site where spectators’ gazes are not composed into a common horizon but are let free to wildly engage with all the realities involved, connecting or not connecting them, and in the end to experience part of the complex ‘whole of wholes’ that is the artwork (while being aware or unaware of the existence of other wholes and of other gazes). What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view. The multiplicity of gazes produced and gathered by undecidable artworks does not compose itself into a community, as there is no ‘common’ present. Rather, it generates a radical collectivity based on multiplicity and on conflicting positions that are not called to any form of negotiation, but just to a cohabitation of the space of the work. Spectators and their views and imaginations are acknowledged as equal parts of a collective body that exist next to each other. They don’t fuse in one common thought and don’t see or reflect one common image, yet effect each other by their sheer presence and existence, operating as a prism that multiplies the reality it reflects. A space of communication is opened here that is not meant for unilateral or bilateral exchanges, but rather for a circulation of information and interpretations – both of fictions and projections. A circulation over which no one – not even the artist – exercises a full control. The place of the author is then challenged and responsibility is shared with the audience not as a participant,[11] but rather as an unknowable and undecidable collective body that receives, reverberates, and twists it. Multiple forms of public spaces and collective subjectivities thus arise and start inhabiting a productive time that goes much beyond the artwork itself and is still loaded by the specific geography of infinities that it has produced. The kind of collective body that undecidability produces could of course be seen as an image of a possible or future societal structure, but it is rather an enigmatic subject: it is not there to actualize itself but to keep being a sheer, glimmering potentiality. Indeed, as a practice of undecidability, art produces a collectivity, a future time, and an elsewhere, but does not claim any agency over them. It rather operates in a regime of prefiguration,[12] which is to say it does not tend towards a pre-existing, visible image. On the contrary, it proceeds in the darkness in order to produce different forms of visibility within it. Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. Nevertheless, acknowledging it as specific to art, and thus as a means without ends, seems to better protect the inner nature and the intact potentiality of a quality that does not make itself available for any use and does not serve any agenda, but stays autonomous and operates by creating its own conditions all over again. Ultimately, a political dimension does spring from an art that practices its undecidability and from its encounter with a multiplicity of gazes. Preserving it is possible also by curating the relation between the artworks and their spectators and by setting the conditions for an intensity that can last in time and reverberate much wider and much longer than in the actual shared space and time of the performance. Through the combination of the encounter between undecidable art, multiplicity of gazes, and a curatorial dimension a condition of existence is produced that is intrinsically and utterly political as it is, with Samuel Beckett’s words in [i]The Unnamable[i], about being “all these words, all these strangers, this dust of words, with no ground for their settling”. Footnotes: +1. Out of five, the sixth lecture was never written, as the author died suddenly and the series remained unfinished, and yet published with its original, and now misleading, title. 2. Italo Calvino, [i]Visibility, in Six Memos for the Next Millennium[i], Harvard University Press, Cambridge 1988, p. 91. 3. ibid, p. 92. 4. ibid, p. 97. 5. ibid. 6. ibid, p. 98. +7. Italo Calvino, Multiplicity, [i]Six Memos for the Next Millennium[i], cit., p. 105. 8. Or ‘art’ which is the term I will use below for the rest of this essay. 9. Claire Bishop, [i]Artificial Hells. Participatory Art and the Politics of Spectatorship[i], Verso, London-New York 2012, p. 33. 10. Respectively by the independent filmmaker Sarah Barberis and by the researcher Laura Gemini at the Urbino University. 11. An active group of spectators invited to exercise their agency over the artwork 12. See Valeria Graziano, [i]Prefigurative Practices: Raw Materials for a Political Positioning of Art, Leaving the Avant-garde[i], in Elke van Campenhout and Lilia Mestre (ed.), Turn, Turtle! Reenacting the Institute, Alexander Verlag, Berlin 2016, pp. 158-172. \ No newline at end of file diff --git a/UNDECIDABILITY/WFTF_custom-Regular.otf b/UNDECIDABILITY/WFTF_custom-Regular.otf new file mode 100644 index 0000000..206e41c Binary files /dev/null and b/UNDECIDABILITY/WFTF_custom-Regular.otf differ diff --git a/UNDECIDABILITY/fulltext.html b/UNDECIDABILITY/fulltext.html new file mode 100644 index 0000000..f56c18d --- /dev/null +++ b/UNDECIDABILITY/fulltext.html @@ -0,0 +1,262 @@ + + + + + + + + + + + + +
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UNDECIDABILITY

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Silvia Bottiroli, Phd, is a contemporary performing arts curator and researcher. Her particular interests are in the dynamics of collaboration and collective creation, in the political and ethical values of performance, in the societal implication of artistic creation, spectatorship, and in the issues of curating and rethinking the art institutions. Bottiroli has worked as a producer for the theatre company Societas Raffaello Sanzio and has supervised diverse critical, curatorial, and educative projects - rethinking possible modalities for knowledge production and sharing in the fields of performing arts and collaborating with a.o. DAS Theatre in Amsterdam, The School of Visual Theatre in Jerusalem, Homo Novus Festival in Riga, Gent University, Aleppo in Brussels, and Vooruit and Campo in Gent. From 2012 to 2016 she was the artistic director of Santarcangelo Festival. Currently, she leads the Curating Performance Art master at IUAV University of Venice.
+

+ +
+MULTIPLYING THE VISIBLE
+The word undecidable appears in Six Memos for the Next Millennium written by Italo Calvino in 1985 for his Charles Eliot Norton poetry lectures at Harvard University. In the last months of his life Calvino worked feverishly on these lectures, but died in the process.  In the five memos he left behind, he did not only open up on values for a future millennium to come but also seemed to envision future as a darkness that withholds many forms of visibility within. +Calvino’s fourth memo,¹Visibility, revolves around the capacity of literature to generate images and to create a kind of “mental cinema” where fantasies can flow continuously. Calvino focuses on the imagination as “the repertory of what is potential; what is hypothetical; what does not exist and has never existed; and perhaps will never exist but might have existed.”² The main concern that he brings forth lies within the relation between contemporary culture and imagination: the risk to definitely lose, in the overproduction of images, the power of bringing visions into focus with our eyes shut and in fact of “thinking in terms of images.”³

+ + + +1. Out of five, the sixth lecture was never written, as the author died suddenly and the series remained unfinished, and yet published with its original, and now misleading, title.
+2. Italo Calvino, Visibility, in Six Memos for the Next Millennium, Harvard University Press, Cambridge 1988, p. 91 +3. ibid, p. 92..


+ + + +In the last pages of the lecture, he proposes a shift from understanding the fantastic world of the artist, not as indefinable, but as undecidable. With this word, Calvino means to define the coexistence and the relation, within any literary work, between three different dimensions. The first dimension is the artist’s imagination – a world of potentialities that no work will succeed in realizing. The second is the reality as we experience it by living. Finally, the third is the world of the actual work, made by the layers of signs that accumulate in it; compared to the first two worlds, it is “also infinite, but more easily controlled, less refractory to formulation.”⁴ He calls the link between these three worlds “the undecidable, the paradox of an infinite whole that contains other infinite wholes.”⁵ +For Calvino, artistic operations involve, by the means of the infinity of linguistic possibilities, the infinity of the artist’s imagination, and the infinity of contingencies. Therefore, “[the] attempts to escape the vortex of multiplicity are useless.”⁶ In his fifth memo, he subsequently focuses on multiplicity as a way for literature to comprehend the complex nature of the world that for the author is a whole of wholes, where the acts of watching and knowing also intervene in the observed reality and alter it. Calvino is particularly fascinated by literary works that are built upon a combinatory logic or that are readable as different narratives. The lecture revolves around some novels that contain multiple worlds and make space for the readers’ imaginations. The common source to all these experiments seems to rely in the understanding of the contemporary novel “as an encyclopedia, as a method of knowledge, and, above all, as a network of connections between the events, the people, and the things of the world.”⁷ +

+ + +4. ibid, p. 97.
+5. ibid.
+6. ibid, p. 98.
+7. Italo Calvino, Multiplicity, Six Memos for the Next Millennium, p.105.


+ + +Therefore, let’s think visibility and multiplicity together, as: a multiplication of visibilities. They are traits specific to artistic production and define a context for the undecidable, or rather for undecidability, as the quality of being undecidable. Calvino seems to suggest that literature⁸ can be particularly productive of futures, if it makes itself visible and multiple. Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world. We might stretch this line of thought a bit further and propose that art’s potentiality is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us. A strategy that is capable of producing different conditions of visibility. Embracing what we are capable to see but also think and imagine, to fantasise and conceptualise; and bringing into existence different configurations of public spaces, collective subjectivities, and social gatherings. Embracing what we are capable to see +but also think and imagine, to fantasise and conceptualise; and bringing into existence different configurations of public spaces, collective subjectivities, and social gatherings.

+ + +8. Or ‘art’ which is the term I will use below for the rest of this essay.

+ + +ACTUAL AND POTENTIAL WORLDS
+In fact, undecidability is a specific force at work that consciously articulates, redefines, or alters the complex system of links, bounds, and resonances between different potential and actual worlds. In this sense, undecidability is a quality specific to some artworks within which the three worlds that Calvino describes meet and yet remain untouched, autonomous, and recognizable. +An artwork can indeed create a magnetic field where different actual worlds coexist and, by living next to each other yet not sharing a common horizon, generate a potential world. Then ‘potential’ does not mean ‘possible.’ In fact, if something is possible when it contains and under certain terms performs the possibility of its actualisation, a world is potential when it can maintain its potentiality and never actualize itself into one actual form. In particular, the potentiality generated by undecidable artworks is grounded in a logic of addition and contradiction that is specific of art. A logic of ‘and… and… and…’ as opposite to the logic of ‘either… or…’ that seems to rule reality. +Artworks are places where contradictory realities can coexist without withdrawing or cancelling each other out. They can be sites of existence and of experience where images let go of their representational nature and just exist as such. None of the images of an artwork are being more or less real than the others, no matter whether they come as pieces of reality or as products of individual or collective fantasies. It is the art(work) as such that creates a ground where all the images that come into visibility share the same gradient of reality, no matter whether they harmoniously coexist or are radically conflicting. +If every work builds up complete systems that are offered to its visitors or spectators to enter into – if the invitation of art is often that of losing the contact with known worlds in order to slip into others – something radically different happens within an art that practices its undecidability.
Here, spectators are invited to enter the work’s fictional world carrying with themselves the so-called real world and all their other fictional worlds; a space is created where all these worlds are equally welcomed. The artwork may then be navigated either by only choosing one layer of reality, or by continuously stepping from one world to another – different dimensions are made available without any form of hierarchy or predicted relations. +Such dynamics seems to occur in performative works in particular, as the contemporaneity of production, consumption, and experience that is typical of performance intensifies the possibility of undecidable links between different realities. Moreover, in the live arts the curatorial context is normally visible as well and provides one more layer to the work by framing or mediating it. +

+ + +AZDORA
+A good example of an undecidable artwork is Markus Öhrn’s Azdora, a long-term project that was initiated and coproduced by Santarcangelo Festival in 2015. As the festival artistic director at that time I had the chance to follow and support the project. The work was triggered by the encounter between the artist, in Santarcangelo for a research residency, and the feminine condition present in traditional family structures in this region of Italy. In particular, what struck him was the figure of the ‘azdora,’ a dialect word that means the ‘holder’ of the house and of the family – the woman who is in charge of the domestic life and of the labours of care. This figure is at the same time powerful, subordinate, and even repressed: through her devotion, she is sacrificed to the family and to the care of the relationships that keep it together. Interested in investigating this feminine figure and the possibility that it suggests of a matriarchal societal structure, the artist made a call for ‘azdoras’ to work together with him on the creation of a series of rituals and later on a concert. Both the rituals and the concert revolve around the possibility of emancipation and the exploration of the wild, even destructive side of the figure of the Azdora. Twenty-eight women committed to a long-term project together with Markus Öhrn and dived into his imagery and artistic world made of diverse ingredients among which were the tattoo culture, the cult of bodybuilding, and the noise music practice. At the same time, the ‘azdoras’ were asked to bring in their own ingredients; imageries, concerns, and desires. Together with the artist and the female musician ?Alos and with the mediation of the festival, they embarked into the adventure of entering a place that did not exist yet, creating a new set of rules and behaviours for themselves and for the spectators who would eventually join their rituals, attend their noise concert, or bump into their interventions in the public space during the festival period. +Similar to other artistic projects that one could trace back to the practice of undecidability, Azdora mingles different realities and fantastic worlds and also activates a participatory dynamic, yet preserving “the grey artistic work of participatory art.”⁹ In other words, it creates and protects a space of indeterminacy. In fact, Azdora is at the same time a performative picture, an artistic fantasy, a community theatre work, an emancipatory process, an ongoing workshop, a social ritual, and a concert. Furthermore, from the project a documentary movie and a sociological survey have been produced,¹⁰ multiplying the possibility to access the work from different angles and via different formats. If the coexistence of different media already implies different angles, durations, discourses, and forms of spectatorship, the performance itself keeps an undecidable bound between its real and fictional ontologies. The performative work of Azdora is then intrinsically ‘political’ according to Rancière definition of ‘metapolitics:’ a destabilising action that produces a conflict vis à vis what is thinkable and speakable. Azdora allows different interpretations and produces conflicting discourses, yet remaining untouched. This does not necessarily mean complete though as, on the contrary, it is generating a multiplicity of different gazes that are all legitimate and complete but yet do not exhaust the work. This is what makes the performance itself unfulfilled and thus incomplete and open. +

+ + +9. Claire Bishop, Artificial Hells. Participatory Art and the Politics of Spectatorship, Verso, London-New York 2012, p. 33.
+10. Respectively by the independent filmmaker Sarah Barberis and by the researcher Laura Gemini at the Urbino University.


+ + +A MULTIPLICITY OF GAZES
+An undecidable artwork is, in other words, a site where different and even contradictory individual experiences unfold and coexist, with no hierarchical structure and no orchestration. It is a site where spectators’ gazes are not composed into a common horizon but are let free to wildly engage with all the realities involved, connecting or not connecting them, and in the end to experience part of the complex ‘whole of wholes’ that is the artwork (while being aware or unaware of the existence of other wholes and of other gazes). +What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view. The multiplicity of gazes produced and gathered by undecidable artworks does not compose itself into a community, as there is no ‘common’ present. Rather, it generates a radical collectivity based on multiplicity and on conflicting positions that are not called to any form of negotiation, but just to a cohabitation of the space of the work. Spectators and their views and imaginations are acknowledged as equal parts of a collective body that exist next to each other. They don’t fuse in one common thought and don’t see or reflect one common image, yet effect each other by their sheer presence and existence, operating as a prism that multiplies the reality it reflects. A space of communication is opened here that is not meant for unilateral or bilateral exchanges, but rather for a circulation of information and interpretations – both of fictions and projections. A circulation over which no one – not even the artist – exercises a full control. The place of the author is then challenged and responsibility is shared with the audience not as a participant,¹¹ but rather as an unknowable and undecidable collective body that receives, reverberates, and twists it. +

+ +11. An active group of spectators invited to exercise over the artwork +

+ +Multiple forms of public spaces and collective subjectivities thus arise and start inhabiting a productive time that goes much beyond the artwork itself and is still loaded by the specific geography of infinities that it has produced. The kind of collective body that undecidability produces could of course be seen as an image of a possible or future societal structure, but it is rather an enigmatic subject: it is not there to actualize itself but to keep being a sheer, glimmering potentiality. Indeed, as a practice of undecidability, art produces a collectivity, a future time, and an elsewhere, but does not claim any agency over them. It rather operates in a regime of prefiguration,¹² which is to say it does not tend towards a pre-existing, visible image. On the contrary, it proceeds in the darkness in order to produce different forms of visibility within it. +Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. Nevertheless, acknowledging it as specific to art, and thus as a means without ends, seems to better protect the inner nature and the intact potentiality of a quality that does not make itself available for any use and does not serve any agenda, but stays autonomous and operates by creating its own conditions all over again. +Ultimately, a political dimension does spring from an art that practices its undecidability and from its encounter with a multiplicity of gazes. Preserving it is possible also by curating the relation between the artworks and their spectators and by setting the conditions for an intensity that can last in time and reverberate much wider and much longer than in the actual shared space and time of the performance. Through the combination of the encounter between undecidable art, multiplicity of gazes, and a curatorial dimension a condition of existence is produced that is intrinsically and utterly political as it is, with Samuel Beckett’s words in The Unnamable, about being “all these words, all these strangers, this dust of words, with no ground for their settling”. +

+ + 12. See Valeria Graziano, Prefigurative Practices: Raw Materials for a Political Positioning of Art, Leaving the Avant-garde, in Elke van Campenhout and Lilia Mestre (ed.), Turn, Turtle! Reenacting the Institute, Alexander Verlag, Berlin 2016, pp. 158-172.

+
+ +
+ + + + + \ No newline at end of file diff --git a/UNDECIDABILITY/image/b.png b/UNDECIDABILITY/image/b.png new file mode 100644 index 0000000..cf49493 Binary files /dev/null and b/UNDECIDABILITY/image/b.png differ diff --git a/UNDECIDABILITY/image/und1.png b/UNDECIDABILITY/image/und1.png new file mode 100644 index 0000000..13cdad1 Binary files /dev/null and b/UNDECIDABILITY/image/und1.png differ diff --git a/UNDECIDABILITY/image/und2.png b/UNDECIDABILITY/image/und2.png new file mode 100644 index 0000000..0ef6480 Binary files /dev/null and b/UNDECIDABILITY/image/und2.png differ diff --git a/UNDECIDABILITY/image/und3.png b/UNDECIDABILITY/image/und3.png new file mode 100644 index 0000000..ccc4709 Binary files /dev/null and b/UNDECIDABILITY/image/und3.png differ diff --git a/UNDECIDABILITY/image/und4.png b/UNDECIDABILITY/image/und4.png new file mode 100644 index 0000000..e46f8be Binary files /dev/null and b/UNDECIDABILITY/image/und4.png differ diff --git a/UNDECIDABILITY/image/und5.png b/UNDECIDABILITY/image/und5.png new file mode 100644 index 0000000..0cd0deb Binary files /dev/null and b/UNDECIDABILITY/image/und5.png differ diff --git a/UNDECIDABILITY/image/und6.png b/UNDECIDABILITY/image/und6.png new file mode 100644 index 0000000..e68d3b3 Binary files /dev/null and b/UNDECIDABILITY/image/und6.png differ diff --git a/UNDECIDABILITY/image/und7.png b/UNDECIDABILITY/image/und7.png new file mode 100644 index 0000000..e669f48 Binary files /dev/null and b/UNDECIDABILITY/image/und7.png differ diff --git a/UNDECIDABILITY/image/w.png b/UNDECIDABILITY/image/w.png new file mode 100644 index 0000000..076af14 Binary files /dev/null and b/UNDECIDABILITY/image/w.png differ diff --git a/UNDECIDABILITY/index.html b/UNDECIDABILITY/index.html new file mode 100644 index 0000000..fe17877 --- /dev/null +++ b/UNDECIDABILITY/index.html @@ -0,0 +1,779 @@ + + + + + + + + + + + + + + +
UNDECIDABILITY
+
U
+ +
+ HOME      + ORIGINAL ESSAY     + +
+ + +
+ + +

+ A logic of ‘and… and… and…’ as opposite to the logic of ‘either… or…’ that seems to rule reality.

+ +
In this page I present my artistic response, weaving the romantic context of undecidability in the original essay with immaterial labour. The original essay talked about the significance of imaginations and + multiplicities in artistic practice.
I contemplated whether these actually encompass intangible activities.
Artists think, imagine, read, write, discuss, etc... + Thus I reacted with my own narratives how the notion is entangled with such immaterial labours. It is expressed with the ‘and...and...and’ format, which was mentioned as a key logic of how the undecidability works in the original essay.

: parts of original essay
: my voice

TEXT : important keys for my voice

The parts of the original essay were selected through Python NLTK(Natural Language ToolKit) function.
Original contribution: Silvia Bottiroli
Original artist response: Jozef Wouters
Reinterpreted by Nami Kim
+ + +

+
Imagine that you are an artist now.


+ MULTIPLYING THE VISIBLE  (From p.3 in the original essay)
+The main concern that he brings forth lies within the relation between contemporary culture and imagination : the risk to definitely lose,
H
   in the overproduction of images
, the power of bringing visions into focus with our eyes shut and in fact of “thinking in terms of images.
+ +(...) In his fifth memo, he subsequently focuses on  
R
   multiplicity as a way for
M
   literature to comprehend the complex nature of the world that for the author is a whole of wholes, where the acts of watching and knowing also intervene in the observed reality and alter it. Calvino is particularly fascinated by  
P
   literary works that are built upon a combinatory logic or that are readable as different narratives. The lecture revolves around some novels that contain multiple worlds and make space for the readers’ imaginations. +(...) Therefore, let’s think visibility and multiplicity together, as: a multiplication of visibilities. They are traits specific to artistic production and define a context for the undecidable, or rather for undecidability, as the quality of being undecidable.
+ +(...) Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real' world. + We might stretch this line of thought a bit further and propose that art’s
P
   potentiality is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us. A strategy that is capable of producing different conditions of visibility. Embracing what we are capable to see but also

think and imagine, to fantasise and conceptualise;

and bringing into existence different configurations of public spaces, +
L
  collective subjectivities, and social gatherings. +



+ + +
Chap1: Think and imagine, fantasise
and conceptualise
  (Click to read)
+



+ + + + ACTUAL AND POTENTIAL WORLDS  (From p.4, 5)
+In fact, undecidability is a specific force at work that consciously articulates, redefines, or alters the complex system of links, bounds, and resonances between different
M
   potential and actual worlds.
(...) In fact, if something is possible when it contains and under certain terms performs the possibility of its actualisation, a world is potential when it can maintain its

potentiality

and never actualize itself into one actual form.
+In particular, the potentiality generated by undecidable artworks is grounded in a logic of addition and contradiction that is specific of art. A logic of ‘and… and… and…’ as opposite to the logic of ‘either… or…’ that seems to rule reality.


+ +
Chap2: Potentiality  (Click to read)
+



+ +
Artworks are places where contradictory realities can coexist without withdrawing or cancelling each other out. + (...) Here, spectators are invited to enter the work’s fictional world carrying with themselves the so-called real world and all their other fictional worlds; a space is created where all these worlds are equally welcomed. The artwork may then be navigated either by only choosing one layer of reality, or by continuously stepping from one world to another– different dimensions are made available without any form of hierarchy or predicted relations. Such dynamics seems to occur in

performative

works in particular, as the contemporaneity of production, consumption, and experience that is typical of performance intensifies the possibility of undecidable links between different realities.



+ + +
Chap3: Performative  (Click to read)
+



+
+ + + + A MULTIPLICITY OF GAZES  (From p.7, 8)
+An undecidable artwork is, in other words, a site where different and even contradictory individual experiences unfold and coexist, with no hierarchical structure and no orchestration.
+(...) What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a
A
   multiplicity of gazes and of forms of

spectatorship

that also coexist one next to the other without mediating between their own positions and points of view.
P
   The multiplicity of gazes produced and gathered by undecidable artworks does not compose itself into a community, as there is no ‘common’ present.



+ +
Chap4: Spectatorship  (Click to read)
+



+
+ + + +(...)
O
    The kind of collective body that undecidability produces could of course be seen as an image of a possible or future societal structure, but it is rather an enigmatic subject: it is not there to actualize itself but to keep being a sheer, glimmering potentiality. Indeed, as a practice of undecidability, art produces a collectivity, a future time, and an elsewhere, but
E
   does not claim any agency over them.
+(...) Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. Nevertheless, acknowledging it as specific to art, and thus as a means without ends, seems to better protect the inner nature and the intact potentiality of a quality that does not make itself available for any use and
L
   does not serve any agenda, but stays

autonomous

and operates by creating its own conditions all over again.
(...) Through the combination of the encounter between undecidable art, multiplicity of gazes, and a curatorial dimension a condition of existence is produced that is intrinsically and utterly political. As it is, with Samuel Beckett’s words in The Unnamable, about being “all these words, all these strangers, this dust of words, with no ground for their settling”.



+ + +
Chap5: Being autonomous as art
  (Click to read)
+



+
+ +
+ multiplicity and works and author and reality and multiplicity and wholes
+ imaginations and alter and works and imaginations and lecture and imaginations
+ potentiality and fact and place and worlds and Nevertheless and conditions
+ subject and forms and nature and modes and forms and gazes
+ alters and is and keep and is and detached and glimmering
+ +
+ +
+ + + +
MULTIPLYING THE VISIBLE  (From p.3 in the original essay)
+The main concern that he brings forth lies within the relation between contemporary culture and imagination : the risk to definitely lose,
H
   in the overproduction of images
, the power of bringing visions into focus with our eyes shut and in fact of “thinking in terms of images.
+(...) In his fifth memo, he subsequently focuses on  
R
   multiplicity as a way for
M
   literature to comprehend the complex nature of the world that for the author is a whole of wholes, where the acts of watching and knowing also intervene in the observed reality and alter it. Calvino is particularly fascinated by  
P
   literary works that are built upon a combinatory logic or that are readable as different narratives. The lecture revolves around some novels that contain multiple worlds and make space for the readers’ imaginations. +(...) Therefore, let’s think visibility and multiplicity together, as: a multiplication of visibilities. They are traits specific to artistic production and define a context for the undecidable, or rather for undecidability, as the quality of being undecidable.
(...) Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real' world. We might stretch this line of thought a bit further and propose that art’s
P
   potentiality is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us. A strategy that is capable of producing different conditions of visibility. Embracing what we are capable to see but also think and imagine, to fantasise and conceptualise; and bringing into existence different configurations of public spaces, +
L
  collective subjectivities, and social gatherings.
+ +
For me the birth of multiplicity and visibility in my artistic practice is derived from immaterial activities. Before stepping into production,
I need my own daily rituals to get into emotions.
They are not really tangible.
For instance, I need to have a 🚿 to refresh myself. And I need a cup of ☕.
Then I may want to get some 🔆 and water my 🌱. And I smoke 🚬 to contemplate mixed ideas, and 🖌 them on a note, and make a 📞 to my colleague to randomly discuss..
+
+ + +
ACTUAL AND POTENTIAL WORLDS  (From p.4, 5)
+In fact, undecidability is a specific force at work that consciously articulates, redefines, or alters the complex system of links, bounds, and resonances between different
M
   potential and actual worlds.
(...) In fact, if something is possible when it contains and under certain terms performs the possibility of its actualisation, a world is potential when it can maintain its

potentiality

and never actualize itself into one actual form.
+In particular, the potentiality generated by undecidable artworks is grounded in a logic of addition and contradiction that is specific of art. A logic of ‘and… and… and…’ as opposite to the logic of ‘either… or…’ that seems to rule reality.


+
I 📝 how my ideas will be actualised in reality.
And I'm aware the pictures in my head might not literally be emobodied in the end.
And still, they are just beautiful as the way they potentially exsits.
Hmm..let me just organise all the ideas into a pad with 💻. I wear 🎧 , because there are noises outside. And I grab a cup of 🍵and go deep in 💭 with my 😬 face.
(...) I look at a ⏰ . Time has been imperceptibly passing. It's not grabbable."
+ +
Artworks are places where contradictory realities can coexist without withdrawing or cancelling each other out. + (...) Here, spectators are invited to enter the work’s fictional world carrying with themselves the so-called real world and all their other fictional worlds; a space is created where all these worlds are equally welcomed. The artwork may then be navigated either by only choosing one layer of reality, or by continuously stepping from one world to another– different dimensions are made available without any form of hierarchy or predicted relations. Such dynamics seems to occur in

performative

works in particular, as the contemporaneity of production, consumption, and experience that is typical of performance intensifies the possibility of undecidable links between different realities.



+
What if I translate my idea into the performative work? Is that absurd? Umm, why not!?
I may sit on the stage, and make still 🧘 movements, and could give some poetic guidance to 👨‍👨‍🦳👩‍🦱🧕 , involving them into the moment. And I will see how 👨‍👨‍🦳👩‍🦱🧕 will be reacting, and performing along together.
Okay, let me see a 📅 ... I think I gotta 📧 to Nikki who is a coordinator in the theater.
And I'm curious how it will actually taking place.
So unknown... And I go deep in 💭 again.
+ + +
A MULTIPLICITY OF GAZES  (From p.7, 8)
+An undecidable artwork is, in other words, a site where different and even contradictory individual experiences unfold and coexist, with no hierarchical structure and no orchestration.
+(...) What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a
A
   multiplicity of gazes and of forms of

spectatorship

that also coexist one next to the other without mediating between their own positions and points of view.
P
   The multiplicity of gazes produced and gathered by undecidable artworks does not compose itself into a community, as there is no ‘common’ present.



+
Okay, today is the day of my performance.
And I need to communicate with the coordinator before it. She asks me : How bright should the 💡 be?, and In which angle should we 🎥 your work?, and Do you want me to give 👨‍👨‍🦳👩‍🦱🧕 instructions about being 🔇 in beginning?
And I answer Like a proposal that I 📧 you,
I want low 🔅, and I want you to 🎥 from the center point, and yes, it'd be nice if 👨‍👨‍🦳👩‍🦱🧕 can stay a bit silent in the beginning. That's it.
I don't want to put further instructions.

+ +
(...)
O
    The kind of collective body that undecidability produces could of course be seen as an image of a possible or future societal structure, but it is rather an enigmatic subject: it is not there to actualize itself but to keep being a sheer, glimmering potentiality. Indeed, as a practice of undecidability, art produces a collectivity, a future time, and an elsewhere, but
E
   does not claim any agency over them.
+(...) Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. Nevertheless, acknowledging it as specific to art, and thus as a means without ends, seems to better protect the inner nature and the intact potentiality of a quality that does not make itself available for any use and
L
   does not serve any agenda, but stays

autonomous

and operates by creating its own conditions all over again.
(...) Through the combination of the encounter between undecidable art, multiplicity of gazes, and a curatorial dimension a condition of existence is produced that is intrinsically and utterly political. As it is, with Samuel Beckett’s words in The Unnamable, about being “all these words, all these strangers, this dust of words, with no ground for their settling”.



+
My performance has been just done. It was quite a day. The moment when 👨‍👨‍🦳👩‍🦱🧕 naturally came into the performance, it finally had undecidable multiplicity.
And I've just got 💵. As I and the coordinater approved, it is 700e. I 💭. 'How come has this cost been decided?'Does this amount of 💵 is compensation by social approval for my unseen labour?
I had ☕ and 🚬and 📝 and 💻
and 💭 and 📧 and🧘
These are indeed undecidable.
+ + + + + + + + + \ No newline at end of file diff --git a/UNDECIDABILITY/nltk-pos-tagger.ipynb b/UNDECIDABILITY/nltk-pos-tagger.ipynb new file mode 100644 index 0000000..efda2d1 --- /dev/null +++ b/UNDECIDABILITY/nltk-pos-tagger.ipynb @@ -0,0 +1,1458 @@ +{ + "cells": [ + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "# NLTK - Part of Speech" + ] + }, + { + "cell_type": "code", + "execution_count": 96, + "metadata": {}, + "outputs": [], + "source": [ + "import nltk\n", + "import random" + ] + }, + { + "cell_type": "code", + "execution_count": 101, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "[' In his fifth memo, he subsequently focuses on multiplicity as a way for literature to comprehend the complex nature of the world that for the author is a whole of wholes, where the acts of watching and knowing also intervene in the observed reality and alter it. Calvino is particularly fascinated by literary works that are built upon a combinatory logic or that are readable as different narratives. The lecture revolves around some novels that contain multiple worlds and make space for the readers’ imaginations. Therefore, let’s think visibility and multiplicity together, as: a multiplication of visibilities. They are traits specific to artistic production and define a context for the undecidable, or rather for undecidability, as the quality of being undecidable.']\n" + ] + } + ], + "source": [ + "texts = open('1.txt').readlines()\n", + "sentence = random.shuffle(texts)\n", + "print(texts)" + ] + }, + { + "cell_type": "code", + "execution_count": 108, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "[' In his fifth memo, he subsequently focuses on multiplicity as a way for literature to comprehend the complex nature of the world that for the author is a whole of wholes, where the acts of watching and knowing also intervene in the observed reality and alter it. Calvino is particularly fascinated by literary works that are built upon a combinatory logic or that are readable as different narratives. The lecture revolves around some novels that contain multiple worlds and make space for the readers’ imaginations. Therefore, let’s think visibility and multiplicity together, as: a multiplication of visibilities. They are traits specific to artistic production and define a context for the undecidable, or rather for undecidability, as the quality of being undecidable.']\n" + ] + } + ], + "source": [ + "lines = open('1.txt').readlines()\n", + "sentence = random.shuffle(lines)\n", + "print(lines)" + ] + }, + { + "cell_type": "code", + "execution_count": 109, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + " In his fifth memo, he subsequently focuses on multiplicity as a way for literature to comprehend the complex nature of the world that for the author is a whole of wholes, where the acts of watching and knowing also intervene in the observed reality and alter it. Calvino is particularly fascinated by literary works that are built upon a combinatory logic or that are readable as different narratives. The lecture revolves around some novels that contain multiple worlds and make space for the readers’ imaginations. Therefore, let’s think visibility and multiplicity together, as: a multiplication of visibilities. They are traits specific to artistic production and define a context for the undecidable, or rather for undecidability, as the quality of being undecidable.\n" + ] + } + ], + "source": [ + "# using list comprehension \n", + "text1 = ' '.join([str(elem) for elem in lines]) \n", + " \n", + "print(text1)" + ] + }, + { + "cell_type": "code", + "execution_count": 111, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['In', 'his', 'fifth', 'memo', ',', 'he', 'subsequently', 'focuses', 'on', 'multiplicity', 'as', 'a', 'way', 'for', 'literature', 'to', 'comprehend', 'the', 'complex', 'nature', 'of', 'the', 'world', 'that', 'for', 'the', 'author', 'is', 'a', 'whole', 'of', 'wholes', ',', 'where', 'the', 'acts', 'of', 'watching', 'and', 'knowing', 'also', 'intervene', 'in', 'the', 'observed', 'reality', 'and', 'alter', 'it', '.', 'Calvino', 'is', 'particularly', 'fascinated', 'by', 'literary', 'works', 'that', 'are', 'built', 'upon', 'a', 'combinatory', 'logic', 'or', 'that', 'are', 'readable', 'as', 'different', 'narratives', '.', 'The', 'lecture', 'revolves', 'around', 'some', 'novels', 'that', 'contain', 'multiple', 'worlds', 'and', 'make', 'space', 'for', 'the', 'readers', '’', 'imaginations', '.', 'Therefore', ',', 'let', '’', 's', 'think', 'visibility', 'and', 'multiplicity', 'together', ',', 'as', ':', 'a', 'multiplication', 'of', 'visibilities', '.', 'They', 'are', 'traits', 'specific', 'to', 'artistic', 'production', 'and', 'define', 'a', 'context', 'for', 'the', 'undecidable', ',', 'or', 'rather', 'for', 'undecidability', ',', 'as', 'the', 'quality', 'of', 'being', 'undecidable', '.']\n" + ] + } + ], + "source": [ + "tokens = nltk.word_tokenize(text1)\n", + "print(tokens)\n" + ] + }, + { + "cell_type": "code", + "execution_count": 112, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "[('In', 'IN'), ('his', 'PRP$'), ('fifth', 'JJ'), ('memo', 'NN'), (',', ','), ('he', 'PRP'), ('subsequently', 'RB'), ('focuses', 'VBZ'), ('on', 'IN'), ('multiplicity', 'NN'), ('as', 'IN'), ('a', 'DT'), ('way', 'NN'), ('for', 'IN'), ('literature', 'NN'), ('to', 'TO'), ('comprehend', 'VB'), ('the', 'DT'), ('complex', 'JJ'), ('nature', 'NN'), ('of', 'IN'), ('the', 'DT'), ('world', 'NN'), ('that', 'WDT'), ('for', 'IN'), ('the', 'DT'), ('author', 'NN'), ('is', 'VBZ'), ('a', 'DT'), ('whole', 'NN'), ('of', 'IN'), ('wholes', 'NNS'), (',', ','), ('where', 'WRB'), ('the', 'DT'), ('acts', 'NNS'), ('of', 'IN'), ('watching', 'VBG'), ('and', 'CC'), ('knowing', 'VBG'), ('also', 'RB'), ('intervene', 'NN'), ('in', 'IN'), ('the', 'DT'), ('observed', 'JJ'), ('reality', 'NN'), ('and', 'CC'), ('alter', 'NN'), ('it', 'PRP'), ('.', '.'), ('Calvino', 'NNP'), ('is', 'VBZ'), ('particularly', 'RB'), ('fascinated', 'VBN'), ('by', 'IN'), ('literary', 'JJ'), ('works', 'NNS'), ('that', 'WDT'), ('are', 'VBP'), ('built', 'VBN'), ('upon', 'IN'), ('a', 'DT'), ('combinatory', 'NN'), ('logic', 'NN'), ('or', 'CC'), ('that', 'WDT'), ('are', 'VBP'), ('readable', 'JJ'), ('as', 'IN'), ('different', 'JJ'), ('narratives', 'NNS'), ('.', '.'), ('The', 'DT'), ('lecture', 'NN'), ('revolves', 'VBZ'), ('around', 'IN'), ('some', 'DT'), ('novels', 'NNS'), ('that', 'WDT'), ('contain', 'VBP'), ('multiple', 'JJ'), ('worlds', 'NNS'), ('and', 'CC'), ('make', 'VB'), ('space', 'NN'), ('for', 'IN'), ('the', 'DT'), ('readers', 'NNS'), ('’', 'VBP'), ('imaginations', 'NNS'), ('.', '.'), ('Therefore', 'RB'), (',', ','), ('let', 'VB'), ('’', 'NNP'), ('s', 'VB'), ('think', 'VBP'), ('visibility', 'NN'), ('and', 'CC'), ('multiplicity', 'NN'), ('together', 'RB'), (',', ','), ('as', 'IN'), (':', ':'), ('a', 'DT'), ('multiplication', 'NN'), ('of', 'IN'), ('visibilities', 'NNS'), ('.', '.'), ('They', 'PRP'), ('are', 'VBP'), ('traits', 'NNS'), ('specific', 'JJ'), ('to', 'TO'), ('artistic', 'JJ'), ('production', 'NN'), ('and', 'CC'), ('define', 'VB'), ('a', 'DT'), ('context', 'NN'), ('for', 'IN'), ('the', 'DT'), ('undecidable', 'JJ'), (',', ','), ('or', 'CC'), ('rather', 'RB'), ('for', 'IN'), ('undecidability', 'NN'), (',', ','), ('as', 'IN'), ('the', 'DT'), ('quality', 'NN'), ('of', 'IN'), ('being', 'VBG'), ('undecidable', 'JJ'), ('.', '.')]\n" + ] + } + ], + "source": [ + "tagged1 = nltk.pos_tag(tokens)\n", + "print(tagged1)" + ] + }, + { + "cell_type": "code", + "execution_count": 113, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['memo', 'multiplicity', 'way', 'literature', 'nature', 'world', 'author', 'whole', 'wholes', 'acts', 'intervene', 'reality', 'alter', 'Calvino', 'works', 'combinatory', 'logic', 'narratives', 'lecture', 'novels', 'worlds', 'space', 'readers', 'imaginations', '’', 'visibility', 'multiplicity', 'multiplication', 'visibilities', 'traits', 'production', 'context', 'undecidability', 'quality']\n" + ] + } + ], + "source": [ + "selection = []\n", + "\n", + "for word, tag in tagged1:\n", + " if 'NN' in tag:\n", + " selection.append(word)\n", + "\n", + "print(selection)" + ] + }, + { + "cell_type": "code", + "execution_count": 114, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "{'space', 'undecidability', 'world', 'worlds', 'narratives', 'way', 'literature', 'quality', 'works', 'novels', 'visibilities', 'acts', 'readers', 'nature', 'context', 'reality', 'whole', 'wholes', 'Calvino', 'multiplication', '’', 'visibility', 'combinatory', 'lecture', 'alter', 'imaginations', 'memo', 'multiplicity', 'production', 'author', 'logic', 'traits', 'intervene'}\n" + ] + } + ], + "source": [ + "# remove overlapped words, using set()\n", + "selection = []\n", + "\n", + "for word, tag in tagged1:\n", + " if 'NN' in tag:\n", + " selection.append(word)\n", + "\n", + "print(set(selection))\n" + ] + }, + { + "cell_type": "code", + "execution_count": 115, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['imaginations', 'alter', 'works', 'imaginations', 'lecture', 'imaginations']\n" + ] + } + ], + "source": [ + "nntagged1 = random.choices(selection, k=6)\n", + "print(nntagged1)" + ] + }, + { + "cell_type": "code", + "execution_count": 116, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "imaginations and alter and works and imaginations and lecture and imaginations\n" + ] + } + ], + "source": [ + "nnand = \" and \".join(nntagged1)\n", + "\n", + "print(nnand)" + ] + }, + { + "cell_type": "code", + "execution_count": 117, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['novels', 'narratives', 'traits', 'lecture', 'narratives', 'traits']\n" + ] + } + ], + "source": [ + "nntagged2 = random.choices(selection, k=6)\n", + "print(nntagged2)" + ] + }, + { + "cell_type": "code", + "execution_count": 118, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "novels and narratives and traits and lecture and narratives and traits\n" + ] + } + ], + "source": [ + "nnand2 = \" and \".join(nntagged2)\n", + "\n", + "print(nnand2)" + ] + }, + { + "cell_type": "code", + "execution_count": 121, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['multiplicity', 'works', 'author', 'reality', 'multiplicity', 'wholes']\n" + ] + } + ], + "source": [ + "nntagged3 = random.choices(selection, k=6)\n", + "print(nntagged3)" + ] + }, + { + "cell_type": "code", + "execution_count": 123, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "multiplicity and works and author and reality and multiplicity and wholes\n" + ] + } + ], + "source": [ + "nnand3 = \" and \".join(nntagged3)\n", + "\n", + "print(nnand3)" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [ + "lines = open('relevant.txt').readlines()\n", + "sentence = random.shuffle(lines)\n", + "print(lines)" + ] + }, + { + "cell_type": "code", + "execution_count": 30, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "list" + ] + }, + "execution_count": 30, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "type(lines)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## Tokens" + ] + }, + { + "cell_type": "code", + "execution_count": 32, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['In', 'fact', ',', 'if', 'something', 'is', 'possible', 'when', 'it', 'contains', 'and', 'under', 'certain', 'terms', 'performs', 'the', 'possibility', 'of', 'its', 'actualisation', ',', 'a', 'world', 'is', 'potential', 'when', 'it', 'can', 'maintain', 'its', 'potentiality', 'and', 'never', 'actualize', 'itself', 'into', 'one', 'actual', 'form', '.', 'The', 'kind', 'of', 'collective', 'body', 'that', 'undecidability', 'produces', 'could', 'of', 'course', 'be', 'seen', 'as', 'an', 'image', 'of', 'a', 'possible', 'or', 'future', 'societal', 'structure', ',', 'but', 'it', 'is', 'rather', 'an', 'enigmatic', 'subject', ':', 'it', 'is', 'not', 'there', 'to', 'actualize', 'itself', 'but', 'to', 'keep', 'being', 'a', 'sheer', ',', 'glimmering', 'potentiality', '.', 'If', 'the', 'coexistence', 'of', 'different', 'media', 'already', 'implies', 'different', 'angles', ',', 'durations', ',', 'discourses', ',', 'and', 'forms', 'of', 'spectatorship', ',', 'the', 'performance', 'itself', 'keeps', 'an', 'undecidable', 'bound', 'between', 'its', 'real', 'and', 'fictional', 'ontologies', '.', 'Which', 'is', 'to', 'say', ',', 'if', 'it', 'doesn', '’', 't', 'give', 'up', 'on', 'involving', 'radically', 'different', 'realities', 'into', 'its', 'operation', 'modes', 'and', 'doesn', '’', 't', 'fade', 'out', 'from', 'the', 'scene', 'of', 'the', '‘', 'real', '’', 'world', '.', 'In', 'particular', ',', 'the', 'potentiality', 'generated', 'by', 'undecidable', 'artworks', 'is', 'grounded', 'in', 'a', 'logic', 'of', 'addition', 'and', 'contradiction', 'that', 'is', 'specific', 'of', 'art', '.', 'If', 'the', 'coexistence', 'of', 'different', 'media', 'already', 'implies', 'different', 'angles', ',', 'durations', ',', 'discourses', ',', 'and', 'forms', 'of', 'spectatorship', ',', 'the', 'performance', 'itself', 'keeps', 'an', 'undecidable', 'bound', 'between', 'its', 'real', 'and', 'fictional', 'ontologies', '.', 'In', 'fact', ',', 'undecidability', 'is', 'a', 'specific', 'force', 'at', 'work', 'that', 'consciously', 'articulates', ',', 'redefines', ',', 'or', 'alters', 'the', 'complex', 'system', 'of', 'links', ',', 'bounds', ',', 'and', 'resonances', 'between', 'different', 'potential', 'and', 'actual', 'worlds', '.', 'What', 'is', 'peculiar', 'to', 'this', 'kind', 'of', 'artworks', 'then', ',', 'and', 'what', 'within', 'them', 'can', 'produce', 'an', 'understanding', 'of', 'the', 'place', 'of', 'art', 'and', 'of', 'its', 'politics', 'today', ',', 'is', 'that', 'they', 'generate', 'a', 'multiplicity', 'of', 'gazes', 'and', 'of', 'forms', 'of', 'spectatorship', 'that', 'also', 'coexist', 'one', 'next', 'to', 'the', 'other', 'without', 'mediating', 'between', 'their', 'own', 'positions', 'and', 'points', 'of', 'view', '.', 'We', 'might', 'stretch', 'this', 'line', 'of', 'thought', 'a', 'bit', 'further', 'and', 'propose', 'that', 'art', '’', 's', 'potentiality', 'is', 'that', 'of', 'multiplying', 'the', 'visible', 'as', 'an', 'actual', 'counterstrategy', 'to', 'the', 'proliferation', 'of', 'images', 'that', 'surrounds', 'us', '.', 'Undecidability', 'could', 'then', 'be', 'detached', 'from', 'art', 'and', 'applied', 'to', 'curation', ',', 'instituting', 'processes', 'or', 'even', 'to', 'politics', 'at', 'large', ':', 'the', 'unfolding', 'of', 'its', 'resonances', 'and', 'consequences', 'already', 'opens', 'this', 'possibility', 'and', 'even', 'beckons', 'it', '.', '(', 'Nevertheless', ',', 'acknowledging', 'it', 'as', 'specific', 'to', 'art', ',', 'and', 'thus', 'as', 'a', 'means', 'without', 'ends', ',', 'seems', 'to', 'better', 'protect', 'the', 'inner', 'nature', 'and', 'the', 'intact', 'potentiality', 'of', 'a', 'quality', 'that', 'does', 'not', 'make', 'itself', 'available', 'for', 'any', 'use', 'and', 'does', 'not', 'serve', 'any', 'agenda', ',', 'but', 'stays', 'autonomous', 'and', 'operates', 'by', 'creating', 'its', 'own', 'conditions', 'all', 'over', 'again', '.', 'Here', ',', 'spectators', 'are', 'invited', 'to', 'enter', 'the', 'work', '’', 's', 'fictional', 'world', 'carrying', 'with', 'themselves', 'the', 'so-called', 'real', 'world', 'and', 'all', 'their', 'other', 'fictional', 'worlds', ';', 'a', 'space', 'is', 'created', 'where', 'all', 'these', 'worlds', 'are', 'equally', 'welcomed', '.', 'Undecidability', 'could', 'then', 'be', 'detached', 'from', 'art', 'and', 'applied', 'to', 'curation', ',', 'instituting', 'processes', 'or', 'even', 'to', 'politics', 'at', 'large', ':', 'the', 'unfolding', 'of', 'its', 'resonances', 'and', 'consequences', 'already', 'opens', 'this', 'possibility', 'and', 'even', 'beckons', 'it', '.', '-Nevertheless', ',', 'acknowledging', 'it', 'as', 'specific', 'to', 'art', ',', 'and', 'thus', 'as', 'a', 'means', 'without', 'ends', ',', 'seems', 'to', 'better', 'protect', 'the', 'inner', 'nature', 'and', 'the', 'intact', 'potentiality', 'of', 'a', 'quality', 'that', 'does', 'not', 'make', 'itself', 'available', 'for', 'any', 'use', 'and', 'does', 'not', 'serve', 'any', 'agenda', ',', 'but', 'stays', 'autonomous', 'and', 'operates', 'by', 'creating', 'its', 'own', 'conditions', 'all', 'over', 'again', '.']\n" + ] + } + ], + "source": [ + "tokens = nltk.word_tokenize(full)\n", + "print(tokens)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## Part of Speech \"tags\"" + ] + }, + { + "cell_type": "code", + "execution_count": 54, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "[('In', 'IN'), ('fact', 'NN'), (',', ','), ('if', 'IN'), ('something', 'NN'), ('is', 'VBZ'), ('possible', 'JJ'), ('when', 'WRB'), ('it', 'PRP'), ('contains', 'VBZ'), ('and', 'CC'), ('under', 'IN'), ('certain', 'JJ'), ('terms', 'NNS'), ('performs', 'VBP'), ('the', 'DT'), ('possibility', 'NN'), ('of', 'IN'), ('its', 'PRP$'), ('actualisation', 'NN'), (',', ','), ('a', 'DT'), ('world', 'NN'), ('is', 'VBZ'), ('potential', 'JJ'), ('when', 'WRB'), ('it', 'PRP'), ('can', 'MD'), ('maintain', 'VB'), ('its', 'PRP$'), ('potentiality', 'NN'), ('and', 'CC'), ('never', 'RB'), ('actualize', 'VB'), ('itself', 'PRP'), ('into', 'IN'), ('one', 'CD'), ('actual', 'JJ'), ('form', 'NN'), ('.', '.'), ('The', 'DT'), ('kind', 'NN'), ('of', 'IN'), ('collective', 'JJ'), ('body', 'NN'), ('that', 'WDT'), ('undecidability', 'JJ'), ('produces', 'NNS'), ('could', 'MD'), ('of', 'IN'), ('course', 'NN'), ('be', 'VB'), ('seen', 'VBN'), ('as', 'IN'), ('an', 'DT'), ('image', 'NN'), ('of', 'IN'), ('a', 'DT'), ('possible', 'JJ'), ('or', 'CC'), ('future', 'JJ'), ('societal', 'JJ'), ('structure', 'NN'), (',', ','), ('but', 'CC'), ('it', 'PRP'), ('is', 'VBZ'), ('rather', 'RB'), ('an', 'DT'), ('enigmatic', 'JJ'), ('subject', 'NN'), (':', ':'), ('it', 'PRP'), ('is', 'VBZ'), ('not', 'RB'), ('there', 'RB'), ('to', 'TO'), ('actualize', 'VB'), ('itself', 'PRP'), ('but', 'CC'), ('to', 'TO'), ('keep', 'VB'), ('being', 'VBG'), ('a', 'DT'), ('sheer', 'NN'), (',', ','), ('glimmering', 'VBG'), ('potentiality', 'NN'), ('.', '.'), ('If', 'IN'), ('the', 'DT'), ('coexistence', 'NN'), ('of', 'IN'), ('different', 'JJ'), ('media', 'NNS'), ('already', 'RB'), ('implies', 'VBZ'), ('different', 'JJ'), ('angles', 'NNS'), (',', ','), ('durations', 'NNS'), (',', ','), ('discourses', 'NNS'), (',', ','), ('and', 'CC'), ('forms', 'NNS'), ('of', 'IN'), ('spectatorship', 'NN'), (',', ','), ('the', 'DT'), ('performance', 'NN'), ('itself', 'PRP'), ('keeps', 'VBZ'), ('an', 'DT'), ('undecidable', 'JJ'), ('bound', 'NN'), ('between', 'IN'), ('its', 'PRP$'), ('real', 'JJ'), ('and', 'CC'), ('fictional', 'JJ'), ('ontologies', 'NNS'), ('.', '.'), ('Which', 'NNP'), ('is', 'VBZ'), ('to', 'TO'), ('say', 'VB'), (',', ','), ('if', 'IN'), ('it', 'PRP'), ('doesn', 'VBZ'), ('’', 'JJ'), ('t', 'NNS'), ('give', 'VBP'), ('up', 'RP'), ('on', 'IN'), ('involving', 'VBG'), ('radically', 'RB'), ('different', 'JJ'), ('realities', 'NNS'), ('into', 'IN'), ('its', 'PRP$'), ('operation', 'NN'), ('modes', 'NNS'), ('and', 'CC'), ('doesn', 'NN'), ('’', 'NNP'), ('t', 'NN'), ('fade', 'VBD'), ('out', 'RP'), ('from', 'IN'), ('the', 'DT'), ('scene', 'NN'), ('of', 'IN'), ('the', 'DT'), ('‘', 'NNP'), ('real', 'JJ'), ('’', 'JJ'), ('world', 'NN'), ('.', '.'), ('In', 'IN'), ('particular', 'JJ'), (',', ','), ('the', 'DT'), ('potentiality', 'NN'), ('generated', 'VBN'), ('by', 'IN'), ('undecidable', 'JJ'), ('artworks', 'NNS'), ('is', 'VBZ'), ('grounded', 'VBN'), ('in', 'IN'), ('a', 'DT'), ('logic', 'NN'), ('of', 'IN'), ('addition', 'NN'), ('and', 'CC'), ('contradiction', 'NN'), ('that', 'WDT'), ('is', 'VBZ'), ('specific', 'JJ'), ('of', 'IN'), ('art', 'NN'), ('.', '.'), ('If', 'IN'), ('the', 'DT'), ('coexistence', 'NN'), ('of', 'IN'), ('different', 'JJ'), ('media', 'NNS'), ('already', 'RB'), ('implies', 'VBZ'), ('different', 'JJ'), ('angles', 'NNS'), (',', ','), ('durations', 'NNS'), (',', ','), ('discourses', 'NNS'), (',', ','), ('and', 'CC'), ('forms', 'NNS'), ('of', 'IN'), ('spectatorship', 'NN'), (',', ','), ('the', 'DT'), ('performance', 'NN'), ('itself', 'PRP'), ('keeps', 'VBZ'), ('an', 'DT'), ('undecidable', 'JJ'), ('bound', 'NN'), ('between', 'IN'), ('its', 'PRP$'), ('real', 'JJ'), ('and', 'CC'), ('fictional', 'JJ'), ('ontologies', 'NNS'), ('.', '.'), ('In', 'IN'), ('fact', 'NN'), (',', ','), ('undecidability', 'NN'), ('is', 'VBZ'), ('a', 'DT'), ('specific', 'JJ'), ('force', 'NN'), ('at', 'IN'), ('work', 'NN'), ('that', 'WDT'), ('consciously', 'RB'), ('articulates', 'VBZ'), (',', ','), ('redefines', 'NNS'), (',', ','), ('or', 'CC'), ('alters', 'VBZ'), ('the', 'DT'), ('complex', 'JJ'), ('system', 'NN'), ('of', 'IN'), ('links', 'NNS'), (',', ','), ('bounds', 'NNS'), (',', ','), ('and', 'CC'), ('resonances', 'NNS'), ('between', 'IN'), ('different', 'JJ'), ('potential', 'NN'), ('and', 'CC'), ('actual', 'JJ'), ('worlds', 'NNS'), ('.', '.'), ('What', 'WP'), ('is', 'VBZ'), ('peculiar', 'JJ'), ('to', 'TO'), ('this', 'DT'), ('kind', 'NN'), ('of', 'IN'), ('artworks', 'NNS'), ('then', 'RB'), (',', ','), ('and', 'CC'), ('what', 'WP'), ('within', 'IN'), ('them', 'PRP'), ('can', 'MD'), ('produce', 'VB'), ('an', 'DT'), ('understanding', 'NN'), ('of', 'IN'), ('the', 'DT'), ('place', 'NN'), ('of', 'IN'), ('art', 'NN'), ('and', 'CC'), ('of', 'IN'), ('its', 'PRP$'), ('politics', 'NNS'), ('today', 'NN'), (',', ','), ('is', 'VBZ'), ('that', 'IN'), ('they', 'PRP'), ('generate', 'VBP'), ('a', 'DT'), ('multiplicity', 'NN'), ('of', 'IN'), ('gazes', 'NNS'), ('and', 'CC'), ('of', 'IN'), ('forms', 'NNS'), ('of', 'IN'), ('spectatorship', 'NN'), ('that', 'WDT'), ('also', 'RB'), ('coexist', 'VBP'), ('one', 'CD'), ('next', 'JJ'), ('to', 'TO'), ('the', 'DT'), ('other', 'JJ'), ('without', 'IN'), ('mediating', 'VBG'), ('between', 'IN'), ('their', 'PRP$'), ('own', 'JJ'), ('positions', 'NNS'), ('and', 'CC'), ('points', 'NNS'), ('of', 'IN'), ('view', 'NN'), ('.', '.'), ('We', 'PRP'), ('might', 'MD'), ('stretch', 'VB'), ('this', 'DT'), ('line', 'NN'), ('of', 'IN'), ('thought', 'NN'), ('a', 'DT'), ('bit', 'NN'), ('further', 'JJ'), ('and', 'CC'), ('propose', 'VB'), ('that', 'IN'), ('art', 'NN'), ('’', 'NNP'), ('s', 'NN'), ('potentiality', 'NN'), ('is', 'VBZ'), ('that', 'IN'), ('of', 'IN'), ('multiplying', 'VBG'), ('the', 'DT'), ('visible', 'JJ'), ('as', 'IN'), ('an', 'DT'), ('actual', 'JJ'), ('counterstrategy', 'NN'), ('to', 'TO'), ('the', 'DT'), ('proliferation', 'NN'), ('of', 'IN'), ('images', 'NNS'), ('that', 'WDT'), ('surrounds', 'VBZ'), ('us', 'PRP'), ('.', '.'), ('Undecidability', 'NN'), ('could', 'MD'), ('then', 'RB'), ('be', 'VB'), ('detached', 'VBN'), ('from', 'IN'), ('art', 'NN'), ('and', 'CC'), ('applied', 'VBN'), ('to', 'TO'), ('curation', 'NN'), (',', ','), ('instituting', 'VBG'), ('processes', 'NNS'), ('or', 'CC'), ('even', 'RB'), ('to', 'TO'), ('politics', 'NNS'), ('at', 'IN'), ('large', 'JJ'), (':', ':'), ('the', 'DT'), ('unfolding', 'NN'), ('of', 'IN'), ('its', 'PRP$'), ('resonances', 'NNS'), ('and', 'CC'), ('consequences', 'NNS'), ('already', 'RB'), ('opens', 'VBZ'), ('this', 'DT'), ('possibility', 'NN'), ('and', 'CC'), ('even', 'RB'), ('beckons', 'NNS'), ('it', 'PRP'), ('.', '.'), ('(', '('), ('Nevertheless', 'NNP'), (',', ','), ('acknowledging', 'VBG'), ('it', 'PRP'), ('as', 'IN'), ('specific', 'JJ'), ('to', 'TO'), ('art', 'VB'), (',', ','), ('and', 'CC'), ('thus', 'RB'), ('as', 'IN'), ('a', 'DT'), ('means', 'NN'), ('without', 'IN'), ('ends', 'NNS'), (',', ','), ('seems', 'VBZ'), ('to', 'TO'), ('better', 'RBR'), ('protect', 'VB'), ('the', 'DT'), ('inner', 'JJ'), ('nature', 'NN'), ('and', 'CC'), ('the', 'DT'), ('intact', 'JJ'), ('potentiality', 'NN'), ('of', 'IN'), ('a', 'DT'), ('quality', 'NN'), ('that', 'WDT'), ('does', 'VBZ'), ('not', 'RB'), ('make', 'VB'), ('itself', 'PRP'), ('available', 'JJ'), ('for', 'IN'), ('any', 'DT'), ('use', 'NN'), ('and', 'CC'), ('does', 'VBZ'), ('not', 'RB'), ('serve', 'VB'), ('any', 'DT'), ('agenda', 'NN'), (',', ','), ('but', 'CC'), ('stays', 'VBZ'), ('autonomous', 'JJ'), ('and', 'CC'), ('operates', 'VBZ'), ('by', 'IN'), ('creating', 'VBG'), ('its', 'PRP$'), ('own', 'JJ'), ('conditions', 'NNS'), ('all', 'DT'), ('over', 'RB'), ('again', 'RB'), ('.', '.'), ('Here', 'RB'), (',', ','), ('spectators', 'NNS'), ('are', 'VBP'), ('invited', 'VBN'), ('to', 'TO'), ('enter', 'VB'), ('the', 'DT'), ('work', 'NN'), ('’', 'NNP'), ('s', 'VBD'), ('fictional', 'JJ'), ('world', 'NN'), ('carrying', 'VBG'), ('with', 'IN'), ('themselves', 'PRP'), ('the', 'DT'), ('so-called', 'JJ'), ('real', 'JJ'), ('world', 'NN'), ('and', 'CC'), ('all', 'DT'), ('their', 'PRP$'), ('other', 'JJ'), ('fictional', 'JJ'), ('worlds', 'NNS'), (';', ':'), ('a', 'DT'), ('space', 'NN'), ('is', 'VBZ'), ('created', 'VBN'), ('where', 'WRB'), ('all', 'PDT'), ('these', 'DT'), ('worlds', 'NNS'), ('are', 'VBP'), ('equally', 'RB'), ('welcomed', 'VBN'), ('.', '.'), ('Undecidability', 'NN'), ('could', 'MD'), ('then', 'RB'), ('be', 'VB'), ('detached', 'VBN'), ('from', 'IN'), ('art', 'NN'), ('and', 'CC'), ('applied', 'VBN'), ('to', 'TO'), ('curation', 'NN'), (',', ','), ('instituting', 'VBG'), ('processes', 'NNS'), ('or', 'CC'), ('even', 'RB'), ('to', 'TO'), ('politics', 'NNS'), ('at', 'IN'), ('large', 'JJ'), (':', ':'), ('the', 'DT'), ('unfolding', 'NN'), ('of', 'IN'), ('its', 'PRP$'), ('resonances', 'NNS'), ('and', 'CC'), ('consequences', 'NNS'), ('already', 'RB'), ('opens', 'VBZ'), ('this', 'DT'), ('possibility', 'NN'), ('and', 'CC'), ('even', 'RB'), ('beckons', 'NNS'), ('it', 'PRP'), ('.', '.'), ('-Nevertheless', 'NN'), (',', ','), ('acknowledging', 'VBG'), ('it', 'PRP'), ('as', 'IN'), ('specific', 'JJ'), ('to', 'TO'), ('art', 'VB'), (',', ','), ('and', 'CC'), ('thus', 'RB'), ('as', 'IN'), ('a', 'DT'), ('means', 'NN'), ('without', 'IN'), ('ends', 'NNS'), (',', ','), ('seems', 'VBZ'), ('to', 'TO'), ('better', 'RBR'), ('protect', 'VB'), ('the', 'DT'), ('inner', 'JJ'), ('nature', 'NN'), ('and', 'CC'), ('the', 'DT'), ('intact', 'JJ'), ('potentiality', 'NN'), ('of', 'IN'), ('a', 'DT'), ('quality', 'NN'), ('that', 'WDT'), ('does', 'VBZ'), ('not', 'RB'), ('make', 'VB'), ('itself', 'PRP'), ('available', 'JJ'), ('for', 'IN'), ('any', 'DT'), ('use', 'NN'), ('and', 'CC'), ('does', 'VBZ'), ('not', 'RB'), ('serve', 'VB'), ('any', 'DT'), ('agenda', 'NN'), (',', ','), ('but', 'CC'), ('stays', 'VBZ'), ('autonomous', 'JJ'), ('and', 'CC'), ('operates', 'VBZ'), ('by', 'IN'), ('creating', 'VBG'), ('its', 'PRP$'), ('own', 'JJ'), ('conditions', 'NNS'), ('all', 'DT'), ('over', 'RB'), ('again', 'RB'), ('.', '.')]\n" + ] + } + ], + "source": [ + "tagged = nltk.pos_tag(tokens)\n", + "print(tagged)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "Now, you could select for example all the type of **verbs**:" + ] + }, + { + "cell_type": "code", + "execution_count": 56, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['fact', 'something', 'terms', 'possibility', 'actualisation', 'world', 'potentiality', 'form', 'kind', 'body', 'produces', 'course', 'image', 'structure', 'subject', 'sheer', 'potentiality', 'coexistence', 'media', 'angles', 'durations', 'discourses', 'forms', 'spectatorship', 'performance', 'bound', 'ontologies', 'Which', 't', 'realities', 'operation', 'modes', 'doesn', '’', 't', 'scene', '‘', 'world', 'potentiality', 'artworks', 'logic', 'addition', 'contradiction', 'art', 'coexistence', 'media', 'angles', 'durations', 'discourses', 'forms', 'spectatorship', 'performance', 'bound', 'ontologies', 'fact', 'undecidability', 'force', 'work', 'redefines', 'system', 'links', 'bounds', 'resonances', 'potential', 'worlds', 'kind', 'artworks', 'understanding', 'place', 'art', 'politics', 'today', 'multiplicity', 'gazes', 'forms', 'spectatorship', 'positions', 'points', 'view', 'line', 'thought', 'bit', 'art', '’', 's', 'potentiality', 'counterstrategy', 'proliferation', 'images', 'Undecidability', 'art', 'curation', 'processes', 'politics', 'unfolding', 'resonances', 'consequences', 'possibility', 'beckons', 'Nevertheless', 'means', 'ends', 'nature', 'potentiality', 'quality', 'use', 'agenda', 'conditions', 'spectators', 'work', '’', 'world', 'world', 'worlds', 'space', 'worlds', 'Undecidability', 'art', 'curation', 'processes', 'politics', 'unfolding', 'resonances', 'consequences', 'possibility', 'beckons', '-Nevertheless', 'means', 'ends', 'nature', 'potentiality', 'quality', 'use', 'agenda', 'conditions']\n" + ] + } + ], + "source": [ + "selection = []\n", + "\n", + "for word, tag in tagged:\n", + " if 'NN' in tag:\n", + " selection.append(word)\n", + "\n", + "print(selection)" + ] + }, + { + "cell_type": "code", + "execution_count": 62, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "{'today', 'proliferation', 'angles', 'art', 'worlds', 'counterstrategy', 'image', 'performance', 'consequences', 'sheer', 'addition', 'kind', 'means', 'work', 's', '’', '-Nevertheless', 'course', 'terms', 'line', 'spectators', 'spectatorship', 'world', 'thought', 'Undecidability', 'Which', 'images', 'bound', 'actualisation', 'something', 'forms', 'place', 'conditions', 'produces', 't', 'use', 'multiplicity', 'durations', 'points', 'undecidability', 'resonances', 'politics', 'realities', 'quality', 'discourses', 'system', 'operation', 'view', 'scene', 'agenda', 'body', 'modes', '‘', 'structure', 'force', 'potentiality', 'processes', 'redefines', 'ontologies', 'links', 'curation', 'beckons', 'possibility', 'ends', 'bounds', 'space', 'coexistence', 'media', 'potential', 'Nevertheless', 'form', 'nature', 'fact', 'understanding', 'positions', 'bit', 'artworks', 'doesn', 'logic', 'unfolding', 'contradiction', 'gazes', 'subject'}\n" + ] + } + ], + "source": [ + "# remove overlapped words, using set()\n", + "selection = []\n", + "\n", + "for word, tag in tagged:\n", + " if 'NN' in tag:\n", + " selection.append(word)\n", + "\n", + "print(set(selection))\n" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [ + "#gotta use stopwords.(), because i dont need unnecessary characters, such as , . 'etc." + ] + }, + { + "cell_type": "code", + "execution_count": 68, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['potentiality', 'consequences', 'images', 'world', 'art', 'gazes']\n" + ] + } + ], + "source": [ + "nnrando2 = random.choices(selection, k=6)\n", + "print(nnrando2)" + ] + }, + { + "cell_type": "code", + "execution_count": 69, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "potentiality and consequences and images and world and art and gazes\n" + ] + } + ], + "source": [ + "nnand2 = \" and \".join(nnrando2)\n", + "\n", + "print(nnand2)" + ] + }, + { + "cell_type": "code", + "execution_count": 70, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['system', 'conditions', 'bounds', 'bound', 'redefines', 'force']\n" + ] + } + ], + "source": [ + "nnrando3 = random.choices(selection, k=6)\n", + "print(nnrando3)" + ] + }, + { + "cell_type": "code", + "execution_count": 71, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "system and conditions and bounds and bound and redefines and force\n" + ] + } + ], + "source": [ + "nnand3 = \" and \".join(nnrando3)\n", + "\n", + "print(nnand3)" + ] + }, + { + "cell_type": "code", + "execution_count": 72, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['potentiality', 'fact', 'place', 'worlds', 'Nevertheless', 'conditions']\n" + ] + } + ], + "source": [ + "nnrando4 = random.choices(selection, k=6)\n", + "print(nnrando4)" + ] + }, + { + "cell_type": "code", + "execution_count": 73, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "potentiality and fact and place and worlds and Nevertheless and conditions\n" + ] + } + ], + "source": [ + "nnand4 = \" and \".join(nnrando4)\n", + "\n", + "print(nnand4)" + ] + }, + { + "cell_type": "code", + "execution_count": 75, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['subject', 'forms', 'nature', 'modes', 'forms', 'gazes']\n" + ] + } + ], + "source": [ + "nnrando5 = random.choices(selection, k=6)\n", + "print(nnrando5)" + ] + }, + { + "cell_type": "code", + "execution_count": 76, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "subject and forms and nature and modes and forms and gazes\n" + ] + } + ], + "source": [ + "nnand5 = \" and \".join(nnrando5)\n", + "\n", + "print(nnand5)" + ] + }, + { + "cell_type": "code", + "execution_count": 35, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['is', 'contains', 'performs', 'is', 'maintain', 'actualize', 'be', 'seen', 'is', 'is', 'actualize', 'keep', 'being', 'glimmering', 'implies', 'keeps', 'is', 'say', 'doesn', 'give', 'involving', 'fade', 'generated', 'is', 'grounded', 'is', 'implies', 'keeps', 'is', 'articulates', 'alters', 'is', 'produce', 'is', 'generate', 'coexist', 'mediating', 'stretch', 'propose', 'is', 'multiplying', 'surrounds', 'be', 'detached', 'applied', 'instituting', 'opens', 'acknowledging', 'art', 'seems', 'protect', 'does', 'make', 'does', 'serve', 'stays', 'operates', 'creating', 'are', 'invited', 'enter', 's', 'carrying', 'is', 'created', 'are', 'welcomed', 'be', 'detached', 'applied', 'instituting', 'opens', 'acknowledging', 'art', 'seems', 'protect', 'does', 'make', 'does', 'serve', 'stays', 'operates', 'creating']\n" + ] + } + ], + "source": [ + "selection = []\n", + "\n", + "for word, tag in tagged:\n", + " if 'VB' in tag:\n", + " selection.append(word)\n", + "\n", + "print(selection)" + ] + }, + { + "cell_type": "code", + "execution_count": 77, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "{'actualize', 'keep', 'instituting', 'protect', 'operates', 'make', 'being', 'art', 'serve', 'detached', 'are', 'articulates', 'welcomed', 'maintain', 'contains', 'created', 'produce', 'performs', 'applied', 'does', 'surrounds', 'say', 'carrying', 'generate', 'coexist', 'generated', 'seen', 'be', 'stretch', 'multiplying', 'alters', 'enter', 'give', 'creating', 'is', 'glimmering', 's', 'seems', 'acknowledging', 'implies', 'invited', 'stays', 'mediating', 'propose', 'doesn', 'fade', 'grounded', 'involving', 'keeps', 'opens'}\n" + ] + } + ], + "source": [ + "selection = []\n", + "\n", + "for word, tag in tagged:\n", + " if 'VB' in tag:\n", + " selection.append(word)\n", + "\n", + "print(set(selection))" + ] + }, + { + "cell_type": "code", + "execution_count": 78, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['alters', 'is', 'keep', 'is', 'detached', 'glimmering']\n" + ] + } + ], + "source": [ + "vbrando = random.choices(selection, k=6)\n", + "print(vbrando)" + ] + }, + { + "cell_type": "code", + "execution_count": 79, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "alters and is and keep and is and detached and glimmering\n" + ] + } + ], + "source": [ + "vband = \" and \".join(vbrando)\n", + "\n", + "print(vband)" + ] + }, + { + "cell_type": "code", + "execution_count": 81, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['detached', 'invited', 'seen', 'is', 'is', 'does']\n" + ] + } + ], + "source": [ + "vbrando2 = random.choices(selection, k=6)\n", + "print(vbrando2)" + ] + }, + { + "cell_type": "code", + "execution_count": 82, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "detached and invited and seen and is and is and does\n" + ] + } + ], + "source": [ + "vband2 = \" and \".join(vbrando2)\n", + "\n", + "print(vband2)" + ] + }, + { + "cell_type": "code", + "execution_count": 83, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['glimmering', 'seems', 'seen', 'make', 'invited', 'operates']\n" + ] + } + ], + "source": [ + "vbrando3 = random.choices(selection, k=6)\n", + "print(vbrando3)" + ] + }, + { + "cell_type": "code", + "execution_count": 84, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "glimmering and seems and seen and make and invited and operates\n" + ] + } + ], + "source": [ + "vband3 = \" and \".join(vbrando3)\n", + "\n", + "print(vband3)" + ] + }, + { + "cell_type": "code", + "execution_count": 36, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['possible', 'certain', 'potential', 'actual', 'collective', 'undecidability', 'possible', 'future', 'societal', 'enigmatic', 'different', 'different', 'undecidable', 'real', 'fictional', '’', 'different', 'real', '’', 'particular', 'undecidable', 'specific', 'different', 'different', 'undecidable', 'real', 'fictional', 'specific', 'complex', 'different', 'actual', 'peculiar', 'next', 'other', 'own', 'further', 'visible', 'actual', 'large', 'specific', 'inner', 'intact', 'available', 'autonomous', 'own', 'fictional', 'so-called', 'real', 'other', 'fictional', 'large', 'specific', 'inner', 'intact', 'available', 'autonomous', 'own']\n" + ] + } + ], + "source": [ + "selection = []\n", + "\n", + "for word, tag in tagged:\n", + " if 'JJ' in tag:\n", + " selection.append(word)\n", + "\n", + "print(selection)" + ] + }, + { + "cell_type": "code", + "execution_count": 85, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "{'next', 'undecidable', 'different', 'large', 'undecidability', 'societal', 'complex', 'enigmatic', 'autonomous', 'fictional', 'potential', 'available', 'further', 'actual', 'inner', 'future', 'intact', 'own', '’', 'so-called', 'real', 'certain', 'particular', 'specific', 'other', 'visible', 'collective', 'peculiar', 'possible'}\n" + ] + } + ], + "source": [ + "selection = []\n", + "\n", + "for word, tag in tagged:\n", + " if 'JJ' in tag:\n", + " selection.append(word)\n", + "\n", + "print(set(selection))" + ] + }, + { + "cell_type": "code", + "execution_count": 91, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['possible', 'real', 'undecidability', 'collective', 'actual', 'other']\n" + ] + } + ], + "source": [ + "jjrando = random.choices(selection, k=6)\n", + "print(jjrando)" + ] + }, + { + "cell_type": "code", + "execution_count": 92, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "possible and real and undecidability and collective and actual and other\n" + ] + } + ], + "source": [ + "jjand = \" and \".join(jjrando)\n", + "\n", + "print(jjand)" + ] + }, + { + "cell_type": "code", + "execution_count": 88, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['particular', 'real', 'inner', 'different', 'autonomous', 'specific']\n" + ] + } + ], + "source": [ + "jjrando2 = random.choices(selection, k=6)\n", + "print(jjrando2)" + ] + }, + { + "cell_type": "code", + "execution_count": 90, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "particular and real and inner and different and autonomous and specific\n" + ] + } + ], + "source": [ + "jjand2 = \" and \".join(jjrando2)\n", + "\n", + "print(jjand2)" + ] + }, + { + "cell_type": "code", + "execution_count": 93, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['specific', 'future', 'actual', 'next', 'own', 'own']\n" + ] + } + ], + "source": [ + "jjrando3 = random.choices(selection, k=6)\n", + "print(jjrando3)" + ] + }, + { + "cell_type": "code", + "execution_count": 94, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "specific and future and actual and next and own and own\n" + ] + } + ], + "source": [ + "jjand3 = \" and \".join(jjrando3)\n", + "\n", + "print(jjand3)" + ] + }, + { + "cell_type": "code", + "execution_count": 37, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['the', 'a', 'The', 'that', 'an', 'a', 'an', 'a', 'the', 'the', 'an', 'the', 'the', 'the', 'a', 'that', 'the', 'the', 'an', 'a', 'that', 'the', 'this', 'an', 'the', 'a', 'that', 'the', 'this', 'a', 'the', 'an', 'the', 'that', 'the', 'this', 'a', 'the', 'the', 'a', 'that', 'any', 'any', 'all', 'the', 'the', 'all', 'a', 'all', 'these', 'the', 'this', 'a', 'the', 'the', 'a', 'that', 'any', 'any', 'all']\n" + ] + } + ], + "source": [ + "selection = []\n", + "\n", + "for word, tag in tagged:\n", + " if 'DT' in tag:\n", + " selection.append(word)\n", + "\n", + "print(selection)" + ] + }, + { + "cell_type": "code", + "execution_count": 40, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['and', 'and', 'or', 'but', 'but', 'and', 'and', 'and', 'and', 'and', 'and', 'or', 'and', 'and', 'and', 'and', 'and', 'and', 'and', 'and', 'or', 'and', 'and', 'and', 'and', 'and', 'but', 'and', 'and', 'and', 'or', 'and', 'and', 'and', 'and', 'and', 'but', 'and']\n" + ] + } + ], + "source": [ + "selection = []\n", + "\n", + "for word, tag in tagged:\n", + " if 'CC' in tag:\n", + " selection.append(word)\n", + "\n", + "print(selection)" + ] + }, + { + "cell_type": "code", + "execution_count": 41, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['one', 'one']\n" + ] + } + ], + "source": [ + "selection = []\n", + "\n", + "for word, tag in tagged:\n", + " if 'CD' in tag:\n", + " selection.append(word)\n", + "\n", + "print(selection)" + ] + }, + { + "cell_type": "code", + "execution_count": 42, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['In', 'if', 'under', 'of', 'into', 'of', 'of', 'as', 'of', 'If', 'of', 'of', 'between', 'if', 'on', 'into', 'from', 'of', 'In', 'by', 'in', 'of', 'of', 'If', 'of', 'of', 'between', 'In', 'at', 'of', 'between', 'of', 'within', 'of', 'of', 'of', 'that', 'of', 'of', 'of', 'without', 'between', 'of', 'of', 'that', 'that', 'of', 'as', 'of', 'from', 'at', 'of', 'as', 'as', 'without', 'of', 'for', 'by', 'with', 'from', 'at', 'of', 'as', 'as', 'without', 'of', 'for', 'by']\n" + ] + } + ], + "source": [ + "selection = []\n", + "\n", + "for word, tag in tagged:\n", + " if 'IN' in tag:\n", + " selection.append(word)\n", + "\n", + "print(selection)" + ] + }, + { + "cell_type": "code", + "execution_count": 48, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['when', 'when', 'never', 'rather', 'not', 'there', 'already', 'radically', 'already', 'consciously', 'then', 'also', 'then', 'even', 'already', 'even', 'thus', 'better', 'not', 'not', 'over', 'again', 'Here', 'where', 'equally', 'then', 'even', 'already', 'even', 'thus', 'better', 'not', 'not', 'over', 'again']\n" + ] + } + ], + "source": [ + "selection = []\n", + "\n", + "for word, tag in tagged:\n", + " if 'RB' in tag:\n", + " selection.append(word)\n", + "\n", + "print(selection)" + ] + }, + { + "cell_type": "code", + "execution_count": 49, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['better', 'better']\n" + ] + } + ], + "source": [ + "selection = []\n", + "\n", + "for word, tag in tagged:\n", + " if 'RBR' in tag:\n", + " selection.append(word)\n", + "\n", + "print(selection)" + ] + }, + { + "cell_type": "code", + "execution_count": 50, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "[]\n" + ] + } + ], + "source": [ + "selection = []\n", + "\n", + "for word, tag in tagged:\n", + " if 'RBS' in tag:\n", + " selection.append(word)\n", + "\n", + "print(selection)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "### Where do these tags come from?" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "> An off-the-shelf tagger is available for English. It uses the Penn Treebank tagset.\n", + "\n", + "From: http://www.nltk.org/api/nltk.tag.html#module-nltk.tag" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "> NLTK provides documentation for each tag, which can be queried using the tag, e.g. nltk.help.upenn_tagset('RB').\n", + "\n", + "From: http://www.nltk.org/book_1ed/ch05.html" + ] + }, + { + "cell_type": "code", + "execution_count": 47, + "metadata": {}, + "outputs": [ + { + "ename": "LookupError", + "evalue": "\n**********************************************************************\n Resource \u001b[93mtagsets\u001b[0m not found.\n Please use the NLTK Downloader to obtain the resource:\n\n \u001b[31m>>> import nltk\n >>> nltk.download('tagsets')\n \u001b[0m\n For more information see: https://www.nltk.org/data.html\n\n Attempted to load \u001b[93mhelp/tagsets/PY3/upenn_tagset.pickle\u001b[0m\n\n Searched in:\n - '/home/namikim/nltk_data'\n - '/usr/nltk_data'\n - '/usr/share/nltk_data'\n - '/usr/lib/nltk_data'\n - '/usr/share/nltk_data'\n - '/usr/local/share/nltk_data'\n - '/usr/lib/nltk_data'\n - '/usr/local/lib/nltk_data'\n - ''\n**********************************************************************\n", + "output_type": "error", + "traceback": [ + "\u001b[0;31m---------------------------------------------------------------------------\u001b[0m", + "\u001b[0;31mLookupError\u001b[0m Traceback (most recent call last)", + "\u001b[0;32m\u001b[0m in \u001b[0;36m\u001b[0;34m\u001b[0m\n\u001b[0;32m----> 1\u001b[0;31m \u001b[0mnltk\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mhelp\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mupenn_tagset\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m'RB'\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m", + "\u001b[0;32m/usr/local/lib/python3.7/dist-packages/nltk/help.py\u001b[0m in \u001b[0;36mupenn_tagset\u001b[0;34m(tagpattern)\u001b[0m\n\u001b[1;32m 25\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 26\u001b[0m \u001b[0;32mdef\u001b[0m \u001b[0mupenn_tagset\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mtagpattern\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0;32mNone\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m---> 27\u001b[0;31m \u001b[0m_format_tagset\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m\"upenn_tagset\"\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mtagpattern\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m 28\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 29\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n", + "\u001b[0;32m/usr/local/lib/python3.7/dist-packages/nltk/help.py\u001b[0m in \u001b[0;36m_format_tagset\u001b[0;34m(tagset, tagpattern)\u001b[0m\n\u001b[1;32m 44\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 45\u001b[0m \u001b[0;32mdef\u001b[0m \u001b[0m_format_tagset\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mtagset\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mtagpattern\u001b[0m\u001b[0;34m=\u001b[0m\u001b[0;32mNone\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m---> 46\u001b[0;31m \u001b[0mtagdict\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0mload\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m\"help/tagsets/\"\u001b[0m \u001b[0;34m+\u001b[0m \u001b[0mtagset\u001b[0m \u001b[0;34m+\u001b[0m \u001b[0;34m\".pickle\"\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m 47\u001b[0m \u001b[0;32mif\u001b[0m \u001b[0;32mnot\u001b[0m \u001b[0mtagpattern\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 48\u001b[0m \u001b[0m_print_entries\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0msorted\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mtagdict\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mtagdict\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n", + "\u001b[0;32m/usr/local/lib/python3.7/dist-packages/nltk/data.py\u001b[0m in \u001b[0;36mload\u001b[0;34m(resource_url, format, cache, verbose, logic_parser, fstruct_reader, encoding)\u001b[0m\n\u001b[1;32m 750\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 751\u001b[0m \u001b[0;31m# Load the resource.\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 752\u001b[0;31m \u001b[0mopened_resource\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0m_open\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mresource_url\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m 753\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 754\u001b[0m \u001b[0;32mif\u001b[0m \u001b[0mformat\u001b[0m \u001b[0;34m==\u001b[0m \u001b[0;34m\"raw\"\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n", + "\u001b[0;32m/usr/local/lib/python3.7/dist-packages/nltk/data.py\u001b[0m in \u001b[0;36m_open\u001b[0;34m(resource_url)\u001b[0m\n\u001b[1;32m 875\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 876\u001b[0m \u001b[0;32mif\u001b[0m \u001b[0mprotocol\u001b[0m \u001b[0;32mis\u001b[0m \u001b[0;32mNone\u001b[0m \u001b[0;32mor\u001b[0m \u001b[0mprotocol\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mlower\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m \u001b[0;34m==\u001b[0m \u001b[0;34m\"nltk\"\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 877\u001b[0;31m \u001b[0;32mreturn\u001b[0m \u001b[0mfind\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mpath_\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mpath\u001b[0m \u001b[0;34m+\u001b[0m \u001b[0;34m[\u001b[0m\u001b[0;34m\"\"\u001b[0m\u001b[0;34m]\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mopen\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m 878\u001b[0m \u001b[0;32melif\u001b[0m \u001b[0mprotocol\u001b[0m\u001b[0;34m.\u001b[0m\u001b[0mlower\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0;34m)\u001b[0m \u001b[0;34m==\u001b[0m \u001b[0;34m\"file\"\u001b[0m\u001b[0;34m:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 879\u001b[0m \u001b[0;31m# urllib might not use mode='rb', so handle this one ourselves:\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n", + "\u001b[0;32m/usr/local/lib/python3.7/dist-packages/nltk/data.py\u001b[0m in \u001b[0;36mfind\u001b[0;34m(resource_name, paths)\u001b[0m\n\u001b[1;32m 583\u001b[0m \u001b[0msep\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;34m\"*\"\u001b[0m \u001b[0;34m*\u001b[0m \u001b[0;36m70\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 584\u001b[0m \u001b[0mresource_not_found\u001b[0m \u001b[0;34m=\u001b[0m \u001b[0;34m\"\\n%s\\n%s\\n%s\\n\"\u001b[0m \u001b[0;34m%\u001b[0m \u001b[0;34m(\u001b[0m\u001b[0msep\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0mmsg\u001b[0m\u001b[0;34m,\u001b[0m \u001b[0msep\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0;32m--> 585\u001b[0;31m \u001b[0;32mraise\u001b[0m \u001b[0mLookupError\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mresource_not_found\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m\u001b[1;32m 586\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n\u001b[1;32m 587\u001b[0m \u001b[0;34m\u001b[0m\u001b[0m\n", + "\u001b[0;31mLookupError\u001b[0m: \n**********************************************************************\n Resource \u001b[93mtagsets\u001b[0m not found.\n Please use the NLTK Downloader to obtain the resource:\n\n \u001b[31m>>> import nltk\n >>> nltk.download('tagsets')\n \u001b[0m\n For more information see: https://www.nltk.org/data.html\n\n Attempted to load \u001b[93mhelp/tagsets/PY3/upenn_tagset.pickle\u001b[0m\n\n Searched in:\n - '/home/namikim/nltk_data'\n - '/usr/nltk_data'\n - '/usr/share/nltk_data'\n - '/usr/lib/nltk_data'\n - '/usr/share/nltk_data'\n - '/usr/local/share/nltk_data'\n - '/usr/lib/nltk_data'\n - '/usr/local/lib/nltk_data'\n - ''\n**********************************************************************\n" + ] + } + ], + "source": [ + "nltk.help.upenn_tagset('RB')" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "------------" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "An alphabetical list of part-of-speech tags used in the Penn Treebank Project ([link](https://www.ling.upenn.edu/courses/Fall_2003/ling001/penn_treebank_pos.html)):\n", + "\n", + "\n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + " \n", + "
\n", + "
Number
\n", + "
\n", + "
Tag
\n", + "
\n", + "
Description
\n", + "
1. CC Coordinating conjunction
2. CD Cardinal number
3. DT Determiner
4. EX Existential there
5. FW Foreign word
6. IN Preposition or subordinating conjunction
7. JJ Adjective
8. JJR Adjective, comparative
9. JJS Adjective, superlative
10. LS List item marker
11. MD Modal
12. NN Noun, singular or mass
13. NNS Noun, plural
14. NNP Proper noun, singular
15. NNPS Proper noun, plural
16. PDT Predeterminer
17. POS Possessive ending
18. PRP Personal pronoun
19. PRP\\$ Possessive pronoun
20. RB Adverb
21. RBR Adverb, comparative
22. RBS Adverb, superlative
23. RP Particle
24. SYM Symbol
25. TO to
26. UH Interjection
27. VB Verb, base form
28. VBD Verb, past tense
29. VBG Verb, gerund or present participle
30. VBN Verb, past participle
31. VBP Verb, non-3rd person singular present
32. VBZ Verb, 3rd person singular present
33. WDT Wh-determiner
34. WP Wh-pronoun
35. WP$ Possessive wh-pronoun
36. WRB Wh-adverb \n", + "
" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## A telling/tricky case\n", + "It's important to realize that POS tagging is not a fixed property of a word -- but depends on the context of each word. The NLTK book gives an example of [homonyms](http://www.nltk.org/book_1ed/ch05.html#using-a-tagger) -- words that are written the same, but are actually pronounced differently and have different meanings depending on their use." + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [ + "text = nltk.word_tokenize(\"They refuse to permit us to obtain the refuse permit\")\n", + "nltk.pos_tag(text)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "From the book:\n", + "\n", + "> Notice that refuse and permit both appear as a present tense verb (VBP) and a noun (NN). E.g. refUSE is a verb meaning \"deny,\" while REFuse is a noun meaning \"trash\" (i.e. they are not homophones). Thus, we need to know which word is being used in order to pronounce the text correctly. (For this reason, text-to-speech systems usually perform POS-tagging.)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## Applying to an entire text" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [ + "language = open('../txt/language.txt').read()\n", + "tokens = nltk.word_tokenize(language)\n", + "tagged = nltk.pos_tag(tokens)" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [ + "tagged" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [ + "words = \"in the beginning was heaven and earth and the time of the whatever\".split()" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [ + "words" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [ + "words.index(\"the\")" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [ + "for i, word in enumerate(words):\n", + " if word == \"the\":\n", + " print (i, word)\n", + " else:\n", + " print (word.upper())" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [ + "import random \n", + "\n", + "words = {}\n", + "words[\"VB\"] = []\n", + "\n", + "for word in nltk.word_tokenize(\"in the beginning was heaven and earth and the time of the whatever\"):\n", + " words[\"VB\"].append(word)\n", + " \n", + "random.choice(words[\"VB\"])" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + } + ], + "metadata": { + "kernelspec": { + "display_name": "Python 3", + "language": "python", + "name": "python3" + }, + "language_info": { + "codemirror_mode": { + "name": "ipython", + "version": 3 + }, + "file_extension": ".py", + "mimetype": "text/x-python", + "name": "python", + "nbconvert_exporter": "python", + "pygments_lexer": "ipython3", + "version": "3.7.3" + } + }, + "nbformat": 4, + "nbformat_minor": 4 +} diff --git a/UNDECIDABILITY/nltk-similar-words_nami.ipynb b/UNDECIDABILITY/nltk-similar-words_nami.ipynb new file mode 100644 index 0000000..926e2db --- /dev/null +++ b/UNDECIDABILITY/nltk-similar-words_nami.ipynb @@ -0,0 +1,1034 @@ +{ + "cells": [ + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "# NLTK - Similar Words" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "https://www.nltk.org/book/ch01.html#searching-text" + ] + }, + { + "cell_type": "code", + "execution_count": 1, + "metadata": {}, + "outputs": [], + "source": [ + "import nltk" + ] + }, + { + "cell_type": "code", + "execution_count": 3, + "metadata": {}, + "outputs": [], + "source": [ + "txt = open('unt.txt').read()" + ] + }, + { + "cell_type": "code", + "execution_count": 48, + "metadata": {}, + "outputs": [], + "source": [ + "import random" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## Tokens" + ] + }, + { + "cell_type": "code", + "execution_count": 4, + "metadata": { + "scrolled": true + }, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['Undecidability', 'Silvia', 'Bottiroli', 'Multiplying', 'the', 'Visible', 'The', 'word', '[', 'i', ']', 'undecidable', '[', 'i', ']', 'appears', 'in', '[', 'i', ']', 'Six', 'Memos', 'for', 'the', 'Next', 'Millennium', '[', 'i', ']', 'written', 'by', 'Italo', 'Calvino', 'in', '1985', 'for', 'his', 'Charles', 'Eliot', 'Norton', 'poetry', 'lectures', 'at', 'Harvard', 'University', '.', 'In', 'the', 'last', 'months', 'of', 'his', 'life', 'Calvino', 'worked', 'feverishly', 'on', 'these', 'lectures', ',', 'but', 'died', 'in', 'the', 'process', '.', 'In', 'the', 'five', 'memos', 'he', 'left', 'behind', ',', 'he', 'did', 'not', 'only', 'open', 'up', 'on', 'values', 'for', 'a', 'future', 'millennium', 'to', 'come', 'but', 'also', 'seemed', 'to', 'envision', 'future', 'as', 'a', 'darkness', 'that', 'withholds', 'many', 'forms', 'of', 'visibility', 'within', '.', 'Calvino', '’', 's', 'fourth', 'memo', ',', '[', '1', ']', '[', 'i', ']', 'Visibility', '[', 'i', ']', ',', 'revolves', 'around', 'the', 'capacity', 'of', 'literature', 'to', 'generate', 'images', 'and', 'to', 'create', 'a', 'kind', 'of', '“', 'mental', 'cinema', '”', 'where', 'fantasies', 'can', 'flow', 'continuously', '.', 'Calvino', 'focuses', 'on', 'the', 'imagination', 'as', '“', 'the', 'repertory', 'of', 'what', 'is', 'potential', ';', 'what', 'is', 'hypothetical', ';', 'what', 'does', 'not', 'exist', 'and', 'has', 'never', 'existed', ';', 'and', 'perhaps', 'will', 'never', 'exist', 'but', 'might', 'have', 'existed.', '”', '[', '2', ']', 'The', 'main', 'concern', 'that', 'he', 'brings', 'forth', 'lies', 'within', 'the', 'relation', 'between', 'contemporary', 'culture', 'and', 'imagination', ':', 'the', 'risk', 'to', 'definitely', 'lose', ',', 'in', 'the', 'overproduction', 'of', 'images', ',', 'the', 'power', 'of', 'bringing', 'visions', 'into', 'focus', 'with', 'our', 'eyes', 'shut', 'and', 'in', 'fact', 'of', '“', '[', 'i', ']', 'thinking', '[', 'i', ']', 'in', 'terms', 'of', 'images.', '”', '[', '3', ']', 'In', 'the', 'last', 'pages', 'of', 'the', 'lecture', ',', 'he', 'proposes', 'a', 'shift', 'from', 'understanding', 'the', 'fantastic', 'world', 'of', 'the', 'artist', ',', 'not', 'as', 'indefinable', ',', 'but', 'as', '[', 'i', ']', 'undecidable', '[', 'i', ']', '.', 'With', 'this', 'word', ',', 'Calvino', 'means', 'to', 'define', 'the', 'coexistence', 'and', 'the', 'relation', ',', 'within', 'any', 'literary', 'work', ',', 'between', 'three', 'different', 'dimensions', '.', 'The', 'first', 'dimension', 'is', 'the', 'artist', '’', 's', 'imagination', '–', 'a', 'world', 'of', 'potentialities', 'that', 'no', 'work', 'will', 'succeed', 'in', 'realizing', '.', 'The', 'second', 'is', 'the', 'reality', 'as', 'we', 'experience', 'it', 'by', 'living', '.', 'Finally', ',', 'the', 'third', 'is', 'the', 'world', 'of', 'the', 'actual', 'work', ',', 'made', 'by', 'the', 'layers', 'of', 'signs', 'that', 'accumulate', 'in', 'it', ';', 'compared', 'to', 'the', 'first', 'two', 'worlds', ',', 'it', 'is', '“', 'also', 'infinite', ',', 'but', 'more', 'easily', 'controlled', ',', 'less', 'refractory', 'to', 'formulation.', '”', '[', '4', ']', 'He', 'calls', 'the', 'link', 'between', 'these', 'three', 'worlds', '“', 'the', 'undecidable', ',', 'the', 'paradox', 'of', 'an', 'infinite', 'whole', 'that', 'contains', 'other', 'infinite', 'wholes.', '”', '[', '5', ']', 'For', 'Calvino', ',', 'artistic', 'operations', 'involve', ',', 'by', 'the', 'means', 'of', 'the', 'infinity', 'of', 'linguistic', 'possibilities', ',', 'the', 'infinity', 'of', 'the', 'artist', '’', 's', 'imagination', ',', 'and', 'the', 'infinity', 'of', 'contingencies', '.', 'Therefore', ',', '“', '[', 'the', ']', 'attempts', 'to', 'escape', 'the', 'vortex', 'of', 'multiplicity', 'are', 'useless.', '”', '[', '6', ']', 'In', 'his', 'fifth', 'memo', ',', 'he', 'subsequently', 'focuses', 'on', '[', 'i', ']', 'multiplicity', '[', 'i', ']', 'as', 'a', 'way', 'for', 'literature', 'to', 'comprehend', 'the', 'complex', 'nature', 'of', 'the', 'world', 'that', 'for', 'the', 'author', 'is', 'a', 'whole', 'of', 'wholes', ',', 'where', 'the', 'acts', 'of', 'watching', 'and', 'knowing', 'also', 'intervene', 'in', 'the', 'observed', 'reality', 'and', 'alter', 'it', '.', 'Calvino', 'is', 'particularly', 'fascinated', 'by', 'literary', 'works', 'that', 'are', 'built', 'upon', 'a', 'combinatory', 'logic', 'or', 'that', 'are', 'readable', 'as', 'different', 'narratives', '.', 'The', 'lecture', 'revolves', 'around', 'some', 'novels', 'that', 'contain', 'multiple', 'worlds', 'and', 'make', 'space', 'for', 'the', 'readers', '’', 'imaginations', '.', 'The', 'common', 'source', 'to', 'all', 'these', 'experiments', 'seems', 'to', 'rely', 'in', 'the', 'understanding', 'of', 'the', 'contemporary', 'novel', '“', 'as', 'an', 'encyclopedia', ',', 'as', 'a', 'method', 'of', 'knowledge', ',', 'and', ',', 'above', 'all', ',', 'as', 'a', 'network', 'of', 'connections', 'between', 'the', 'events', ',', 'the', 'people', ',', 'and', 'the', 'things', 'of', 'the', 'world.', '”', '[', '7', ']', 'Therefore', ',', 'let', '’', 's', 'think', 'visibility', 'and', 'multiplicity', 'together', ',', 'as', ':', 'a', 'multiplication', 'of', 'visibilities', '.', 'They', 'are', 'traits', 'specific', 'to', 'artistic', 'production', 'and', 'define', 'a', 'context', 'for', 'the', 'undecidable', ',', 'or', 'rather', 'for', 'undecidability', ',', 'as', 'the', 'quality', 'of', 'being', 'undecidable', '.', 'Calvino', 'seems', 'to', 'suggest', 'that', 'literature', '[', '8', ']', 'can', 'be', 'particularly', 'productive', 'of', 'futures', ',', 'if', 'it', 'makes', 'itself', 'visible', 'and', 'multiple', '.', 'Which', 'is', 'to', 'say', ',', 'if', 'it', 'doesn', '’', 't', 'give', 'up', 'on', 'involving', 'radically', 'different', 'realities', 'into', 'its', 'operation', 'modes', 'and', 'doesn', '’', 't', 'fade', 'out', 'from', 'the', 'scene', 'of', 'the', '‘', 'real', '’', 'world', '.', 'We', 'might', 'stretch', 'this', 'line', 'of', 'thought', 'a', 'bit', 'further', 'and', 'propose', 'that', 'art', '’', 's', 'potentiality', 'is', 'that', 'of', 'multiplying', 'the', 'visible', 'as', 'an', 'actual', 'counterstrategy', 'to', 'the', 'proliferation', 'of', 'images', 'that', 'surrounds', 'us', '.', 'A', 'strategy', 'that', 'is', 'capable', 'of', 'producing', 'different', 'conditions', 'of', 'visibility', '.', 'Embracing', 'what', 'we', 'are', 'capable', 'to', 'see', 'but', 'also', 'think', 'and', 'imagine', ',', 'to', 'fantasise', 'and', 'conceptualise', ';', 'and', 'bringing', 'into', 'existence', 'different', 'configurations', 'of', 'public', 'spaces', ',', 'collective', 'subjectivities', ',', 'and', 'social', 'gatherings', '.', 'Actual', 'and', 'Potential', 'Worlds', 'In', 'fact', ',', 'undecidability', 'is', 'a', 'specific', 'force', 'at', 'work', 'that', 'consciously', 'articulates', ',', 'redefines', ',', 'or', 'alters', 'the', 'complex', 'system', 'of', 'links', ',', 'bounds', ',', 'and', 'resonances', 'between', 'different', 'potential', 'and', 'actual', 'worlds', '.', 'In', 'this', 'sense', ',', 'undecidability', 'is', 'a', 'quality', 'specific', 'to', 'some', 'artworks', 'within', 'which', 'the', 'three', 'worlds', 'that', 'Calvino', 'describes', 'meet', 'and', 'yet', 'remain', 'untouched', ',', 'autonomous', ',', 'and', 'recognizable', '.', 'An', 'artwork', 'can', 'indeed', 'create', 'a', 'magnetic', 'field', 'where', 'different', 'actual', 'worlds', 'coexist', 'and', ',', 'by', 'living', 'next', 'to', 'each', 'other', 'yet', 'not', 'sharing', 'a', 'common', 'horizon', ',', 'generate', 'a', 'potential', 'world', '.', 'Then', '‘', 'potential', '’', 'does', 'not', 'mean', '‘', 'possible.', '’', 'In', 'fact', ',', 'if', 'something', 'is', 'possible', 'when', 'it', 'contains', 'and', 'under', 'certain', 'terms', 'performs', 'the', 'possibility', 'of', 'its', 'actualisation', ',', 'a', 'world', 'is', 'potential', 'when', 'it', 'can', 'maintain', 'its', 'potentiality', 'and', 'never', 'actualize', 'itself', 'into', 'one', 'actual', 'form', '.', 'In', 'particular', ',', 'the', 'potentiality', 'generated', 'by', 'undecidable', 'artworks', 'is', 'grounded', 'in', 'a', 'logic', 'of', 'addition', 'and', 'contradiction', 'that', 'is', 'specific', 'of', 'art', '.', 'A', 'logic', 'of', '‘', 'and…', 'and…', 'and…', '’', 'as', 'opposite', 'to', 'the', 'logic', 'of', '‘', 'either…', 'or…', '’', 'that', 'seems', 'to', 'rule', 'reality', '.', 'Artworks', 'are', 'places', 'where', 'contradictory', 'realities', 'can', 'coexist', 'without', 'withdrawing', 'or', 'cancelling', 'each', 'other', 'out', '.', 'They', 'can', 'be', 'sites', 'of', 'existence', 'and', 'of', 'experience', 'where', 'images', 'let', 'go', 'of', 'their', 'representational', 'nature', 'and', 'just', 'exist', 'as', 'such', '.', 'None', 'of', 'the', 'images', 'of', 'an', 'artwork', 'are', 'being', 'more', 'or', 'less', 'real', 'than', 'the', 'others', ',', 'no', 'matter', 'whether', 'they', 'come', 'as', 'pieces', 'of', 'reality', 'or', 'as', 'products', 'of', 'individual', 'or', 'collective', 'fantasies', '.', 'It', 'is', 'the', 'art', '(', 'work', ')', 'as', 'such', 'that', 'creates', 'a', 'ground', 'where', 'all', 'the', 'images', 'that', 'come', 'into', 'visibility', 'share', 'the', 'same', 'gradient', 'of', 'reality', ',', 'no', 'matter', 'whether', 'they', 'harmoniously', 'coexist', 'or', 'are', 'radically', 'conflicting', '.', 'If', 'every', 'work', 'builds', 'up', 'complete', 'systems', 'that', 'are', 'offered', 'to', 'its', 'visitors', 'or', 'spectators', 'to', 'enter', 'into', '–', 'if', 'the', 'invitation', 'of', 'art', 'is', 'often', 'that', 'of', 'losing', 'the', 'contact', 'with', 'known', 'worlds', 'in', 'order', 'to', 'slip', 'into', 'others', '–', 'something', 'radically', 'different', 'happens', 'within', 'an', 'art', 'that', 'practices', 'its', 'undecidability', '.', 'Here', ',', 'spectators', 'are', 'invited', 'to', 'enter', 'the', 'work', '’', 's', 'fictional', 'world', 'carrying', 'with', 'themselves', 'the', 'so-called', 'real', 'world', 'and', 'all', 'their', 'other', 'fictional', 'worlds', ';', 'a', 'space', 'is', 'created', 'where', 'all', 'these', 'worlds', 'are', 'equally', 'welcomed', '.', 'The', 'artwork', 'may', 'then', 'be', 'navigated', 'either', 'by', 'only', 'choosing', 'one', 'layer', 'of', 'reality', ',', 'or', 'by', 'continuously', 'stepping', 'from', 'one', 'world', 'to', 'another', '–', 'different', 'dimensions', 'are', 'made', 'available', 'without', 'any', 'form', 'of', 'hierarchy', 'or', 'predicted', 'relations', '.', 'Such', 'dynamics', 'seems', 'to', 'occur', 'in', 'performative', 'works', 'in', 'particular', ',', 'as', 'the', 'contemporaneity', 'of', 'production', ',', 'consumption', ',', 'and', 'experience', 'that', 'is', 'typical', 'of', 'performance', 'intensifies', 'the', 'possibility', 'of', 'undecidable', 'links', 'between', 'different', 'realities', '.', 'Moreover', ',', 'in', 'the', 'live', 'arts', 'the', 'curatorial', 'context', 'is', 'normally', 'visible', 'as', 'well', 'and', 'provides', 'one', 'more', 'layer', 'to', 'the', 'work', 'by', 'framing', 'or', 'mediating', 'it', '.', 'Azdora', 'A', 'good', 'example', 'of', 'an', 'undecidable', 'artwork', 'is', 'Markus', 'Öhrn', '’', 's', '[', 'i', ']', 'Azdora', '[', 'i', ']', ',', 'a', 'long-term', 'project', 'that', 'was', 'initiated', 'and', 'coproduced', 'by', 'Santarcangelo', 'Festival', 'in', '2015', '.', 'As', 'the', 'festival', 'artistic', 'director', 'at', 'that', 'time', 'I', 'had', 'the', 'chance', 'to', 'follow', 'and', 'support', 'the', 'project', '.', 'The', 'work', 'was', 'triggered', 'by', 'the', 'encounter', 'between', 'the', 'artist', ',', 'in', 'Santarcangelo', 'for', 'a', 'research', 'residency', ',', 'and', 'the', 'feminine', 'condition', 'present', 'in', 'traditional', 'family', 'structures', 'in', 'this', 'region', 'of', 'Italy', '.', 'In', 'particular', ',', 'what', 'struck', 'him', 'was', 'the', 'figure', 'of', 'the', '‘', 'azdora', ',', '’', 'a', 'dialect', 'word', 'that', 'means', 'the', '‘', 'holder', '’', 'of', 'the', 'house', 'and', 'of', 'the', 'family', '–', 'the', 'woman', 'who', 'is', 'in', 'charge', 'of', 'the', 'domestic', 'life', 'and', 'of', 'the', 'labours', 'of', 'care', '.', 'This', 'figure', 'is', 'at', 'the', 'same', 'time', 'powerful', ',', 'subordinate', ',', 'and', 'even', 'repressed', ':', 'through', 'her', 'devotion', ',', 'she', 'is', 'sacrificed', 'to', 'the', 'family', 'and', 'to', 'the', 'care', 'of', 'the', 'relationships', 'that', 'keep', 'it', 'together', '.', 'Interested', 'in', 'investigating', 'this', 'feminine', 'figure', 'and', 'the', 'possibility', 'that', 'it', 'suggests', 'of', 'a', 'matriarchal', 'societal', 'structure', ',', 'the', 'artist', 'made', 'a', 'call', 'for', '‘', 'azdoras', '’', 'to', 'work', 'together', 'with', 'him', 'on', 'the', 'creation', 'of', 'a', 'series', 'of', 'rituals', 'and', 'later', 'on', 'a', 'concert', '.', 'Both', 'the', 'rituals', 'and', 'the', 'concert', 'revolve', 'around', 'the', 'possibility', 'of', 'emancipation', 'and', 'the', 'exploration', 'of', 'the', 'wild', ',', 'even', 'destructive', 'side', 'of', 'the', 'figure', 'of', 'the', 'Azdora', '.', 'Twenty-eight', 'women', 'committed', 'to', 'a', 'long-term', 'project', 'together', 'with', 'Markus', 'Öhrn', 'and', 'dived', 'into', 'his', 'imagery', 'and', 'artistic', 'world', 'made', 'of', 'diverse', 'ingredients', 'among', 'which', 'were', 'the', 'tattoo', 'culture', ',', 'the', 'cult', 'of', 'bodybuilding', ',', 'and', 'the', 'noise', 'music', 'practice', '.', 'At', 'the', 'same', 'time', ',', 'the', '‘', 'azdoras', '’', 'were', 'asked', 'to', 'bring', 'in', 'their', 'own', 'ingredients', ';', 'imageries', ',', 'concerns', ',', 'and', 'desires', '.', 'Together', 'with', 'the', 'artist', 'and', 'the', 'female', 'musician', '?', 'Alos', 'and', 'with', 'the', 'mediation', 'of', 'the', 'festival', ',', 'they', 'embarked', 'into', 'the', 'adventure', 'of', 'entering', 'a', 'place', 'that', 'did', 'not', 'exist', 'yet', ',', 'creating', 'a', 'new', 'set', 'of', 'rules', 'and', 'behaviours', 'for', 'themselves', 'and', 'for', 'the', 'spectators', 'who', 'would', 'eventually', 'join', 'their', 'rituals', ',', 'attend', 'their', 'noise', 'concert', ',', 'or', 'bump', 'into', 'their', 'interventions', 'in', 'the', 'public', 'space', 'during', 'the', 'festival', 'period', '.', 'Similar', 'to', 'other', 'artistic', 'projects', 'that', 'one', 'could', 'trace', 'back', 'to', 'the', 'practice', 'of', 'undecidability', ',', '[', 'i', ']', 'Azdora', '[', 'i', ']', 'mingles', 'different', 'realities', 'and', 'fantastic', 'worlds', 'and', 'also', 'activates', 'a', 'participatory', 'dynamic', ',', 'yet', 'preserving', '“', 'the', 'grey', '[', 'i', ']', 'artistic', '[', 'i', ']', 'work', 'of', 'participatory', 'art.', '”', '[', '9', ']', 'In', 'other', 'words', ',', 'it', 'creates', 'and', 'protects', 'a', 'space', 'of', 'indeterminacy', '.', 'In', 'fact', ',', '[', 'i', ']', 'Azdora', '[', 'i', ']', 'is', 'at', 'the', 'same', 'time', 'a', 'performative', 'picture', ',', 'an', 'artistic', 'fantasy', ',', 'a', 'community', 'theatre', 'work', ',', 'an', 'emancipatory', 'process', ',', 'an', 'ongoing', 'workshop', ',', 'a', 'social', 'ritual', ',', 'and', 'a', 'concert', '.', 'Furthermore', ',', 'from', 'the', 'project', 'a', 'documentary', 'movie', 'and', 'a', 'sociological', 'survey', 'have', 'been', 'produced', ',', '[', '10', ']', 'multiplying', 'the', 'possibility', 'to', 'access', 'the', 'work', 'from', 'different', 'angles', 'and', 'via', 'different', 'formats', '.', 'If', 'the', 'coexistence', 'of', 'different', 'media', 'already', 'implies', 'different', 'angles', ',', 'durations', ',', 'discourses', ',', 'and', 'forms', 'of', 'spectatorship', ',', 'the', 'performance', 'itself', 'keeps', 'an', 'undecidable', 'bound', 'between', 'its', 'real', 'and', 'fictional', 'ontologies', '.', 'The', 'performative', 'work', 'of', '[', 'i', ']', 'Azdora', '[', 'i', ']', 'is', 'then', 'intrinsically', '‘', 'political', '’', 'according', 'to', 'Rancière', 'definition', 'of', '‘', 'metapolitics', ':', '’', 'a', 'destabilising', 'action', 'that', 'produces', 'a', 'conflict', 'vis', 'à', 'vis', 'what', 'is', 'thinkable', 'and', 'speakable', '.', '[', 'i', ']', 'Azdora', '[', 'i', ']', 'allows', 'different', 'interpretations', 'and', 'produces', 'conflicting', 'discourses', ',', 'yet', 'remaining', 'untouched', '.', 'This', 'does', 'not', 'necessarily', 'mean', 'complete', 'though', 'as', ',', 'on', 'the', 'contrary', ',', 'it', 'is', 'generating', 'a', 'multiplicity', 'of', 'different', 'gazes', 'that', 'are', 'all', 'legitimate', 'and', 'complete', 'but', 'yet', 'do', 'not', 'exhaust', 'the', 'work', '.', 'This', 'is', 'what', 'makes', 'the', 'performance', 'itself', 'unfulfilled', 'and', 'thus', 'incomplete', 'and', 'open', '.', 'A', 'Multiplicity', 'of', 'Gazes', 'An', 'undecidable', 'artwork', 'is', ',', 'in', 'other', 'words', ',', 'a', 'site', 'where', 'different', 'and', 'even', 'contradictory', 'individual', 'experiences', 'unfold', 'and', 'coexist', ',', 'with', 'no', 'hierarchical', 'structure', 'and', 'no', 'orchestration', '.', 'It', 'is', 'a', 'site', 'where', 'spectators', '’', 'gazes', 'are', 'not', 'composed', 'into', 'a', 'common', 'horizon', 'but', 'are', 'let', 'free', 'to', 'wildly', 'engage', 'with', 'all', 'the', 'realities', 'involved', ',', 'connecting', 'or', 'not', 'connecting', 'them', ',', 'and', 'in', 'the', 'end', 'to', 'experience', 'part', 'of', 'the', 'complex', '‘', 'whole', 'of', 'wholes', '’', 'that', 'is', 'the', 'artwork', '(', 'while', 'being', 'aware', 'or', 'unaware', 'of', 'the', 'existence', 'of', 'other', 'wholes', 'and', 'of', 'other', 'gazes', ')', '.', 'What', 'is', 'peculiar', 'to', 'this', 'kind', 'of', 'artworks', 'then', ',', 'and', 'what', 'within', 'them', 'can', 'produce', 'an', 'understanding', 'of', 'the', 'place', 'of', 'art', 'and', 'of', 'its', 'politics', 'today', ',', 'is', 'that', 'they', 'generate', 'a', 'multiplicity', 'of', 'gazes', 'and', 'of', 'forms', 'of', 'spectatorship', 'that', 'also', 'coexist', 'one', 'next', 'to', 'the', 'other', 'without', 'mediating', 'between', 'their', 'own', 'positions', 'and', 'points', 'of', 'view', '.', 'The', 'multiplicity', 'of', 'gazes', 'produced', 'and', 'gathered', 'by', 'undecidable', 'artworks', 'does', 'not', 'compose', 'itself', 'into', 'a', 'community', ',', 'as', 'there', 'is', 'no', '‘', 'common', '’', 'present', '.', 'Rather', ',', 'it', 'generates', 'a', 'radical', 'collectivity', 'based', 'on', 'multiplicity', 'and', 'on', 'conflicting', 'positions', 'that', 'are', 'not', 'called', 'to', 'any', 'form', 'of', 'negotiation', ',', 'but', 'just', 'to', 'a', 'cohabitation', 'of', 'the', 'space', 'of', 'the', 'work', '.', 'Spectators', 'and', 'their', 'views', 'and', 'imaginations', 'are', 'acknowledged', 'as', 'equal', 'parts', 'of', 'a', 'collective', 'body', 'that', 'exist', 'next', 'to', 'each', 'other', '.', 'They', 'don', '’', 't', 'fuse', 'in', 'one', 'common', 'thought', 'and', 'don', '’', 't', 'see', 'or', 'reflect', 'one', 'common', 'image', ',', 'yet', 'effect', 'each', 'other', 'by', 'their', 'sheer', 'presence', 'and', 'existence', ',', 'operating', 'as', 'a', 'prism', 'that', 'multiplies', 'the', 'reality', 'it', 'reflects', '.', 'A', 'space', 'of', 'communication', 'is', 'opened', 'here', 'that', 'is', 'not', 'meant', 'for', 'unilateral', 'or', 'bilateral', 'exchanges', ',', 'but', 'rather', 'for', 'a', 'circulation', 'of', 'information', 'and', 'interpretations', '–', 'both', 'of', 'fictions', 'and', 'projections', '.', 'A', 'circulation', 'over', 'which', 'no', 'one', '–', 'not', 'even', 'the', 'artist', '–', 'exercises', 'a', 'full', 'control', '.', 'The', 'place', 'of', 'the', 'author', 'is', 'then', 'challenged', 'and', 'responsibility', 'is', 'shared', 'with', 'the', 'audience', 'not', 'as', 'a', 'participant', ',', '[', '11', ']', 'but', 'rather', 'as', 'an', 'unknowable', 'and', 'undecidable', 'collective', 'body', 'that', 'receives', ',', 'reverberates', ',', 'and', 'twists', 'it', '.', 'Multiple', 'forms', 'of', 'public', 'spaces', 'and', 'collective', 'subjectivities', 'thus', 'arise', 'and', 'start', 'inhabiting', 'a', 'productive', 'time', 'that', 'goes', 'much', 'beyond', 'the', 'artwork', 'itself', 'and', 'is', 'still', 'loaded', 'by', 'the', 'specific', 'geography', 'of', 'infinities', 'that', 'it', 'has', 'produced', '.', 'The', 'kind', 'of', 'collective', 'body', 'that', 'undecidability', 'produces', 'could', 'of', 'course', 'be', 'seen', 'as', 'an', 'image', 'of', 'a', 'possible', 'or', 'future', 'societal', 'structure', ',', 'but', 'it', 'is', 'rather', 'an', 'enigmatic', 'subject', ':', 'it', 'is', 'not', 'there', 'to', 'actualize', 'itself', 'but', 'to', 'keep', 'being', 'a', 'sheer', ',', 'glimmering', 'potentiality', '.', 'Indeed', ',', 'as', 'a', 'practice', 'of', 'undecidability', ',', 'art', 'produces', 'a', 'collectivity', ',', 'a', 'future', 'time', ',', 'and', 'an', 'elsewhere', ',', 'but', 'does', 'not', 'claim', 'any', 'agency', 'over', 'them', '.', 'It', 'rather', 'operates', 'in', 'a', 'regime', 'of', 'prefiguration', ',', '[', '12', ']', 'which', 'is', 'to', 'say', 'it', 'does', 'not', 'tend', 'towards', 'a', 'pre-existing', ',', 'visible', 'image', '.', 'On', 'the', 'contrary', ',', 'it', 'proceeds', 'in', 'the', 'darkness', 'in', 'order', 'to', 'produce', 'different', 'forms', 'of', 'visibility', 'within', 'it', '.', 'Undecidability', 'could', 'then', 'be', 'detached', 'from', 'art', 'and', 'applied', 'to', 'curation', ',', 'instituting', 'processes', 'or', 'even', 'to', 'politics', 'at', 'large', ':', 'the', 'unfolding', 'of', 'its', 'resonances', 'and', 'consequences', 'already', 'opens', 'this', 'possibility', 'and', 'even', 'beckons', 'it', '.', 'Nevertheless', ',', 'acknowledging', 'it', 'as', 'specific', 'to', 'art', ',', 'and', 'thus', 'as', 'a', 'means', 'without', 'ends', ',', 'seems', 'to', 'better', 'protect', 'the', 'inner', 'nature', 'and', 'the', 'intact', 'potentiality', 'of', 'a', 'quality', 'that', 'does', 'not', 'make', 'itself', 'available', 'for', 'any', 'use', 'and', 'does', 'not', 'serve', 'any', 'agenda', ',', 'but', 'stays', 'autonomous', 'and', 'operates', 'by', 'creating', 'its', 'own', 'conditions', 'all', 'over', 'again', '.', 'Ultimately', ',', 'a', 'political', 'dimension', 'does', 'spring', 'from', 'an', 'art', 'that', 'practices', 'its', 'undecidability', 'and', 'from', 'its', 'encounter', 'with', 'a', 'multiplicity', 'of', 'gazes', '.', 'Preserving', 'it', 'is', 'possible', 'also', 'by', 'curating', 'the', 'relation', 'between', 'the', 'artworks', 'and', 'their', 'spectators', 'and', 'by', 'setting', 'the', 'conditions', 'for', 'an', 'intensity', 'that', 'can', 'last', 'in', 'time', 'and', 'reverberate', 'much', 'wider', 'and', 'much', 'longer', 'than', 'in', 'the', 'actual', 'shared', 'space', 'and', 'time', 'of', 'the', 'performance', '.', 'Through', 'the', 'combination', 'of', 'the', 'encounter', 'between', 'undecidable', 'art', ',', 'multiplicity', 'of', 'gazes', ',', 'and', 'a', 'curatorial', 'dimension', 'a', 'condition', 'of', 'existence', 'is', 'produced', 'that', 'is', 'intrinsically', 'and', 'utterly', 'political', 'as', 'it', 'is', ',', 'with', 'Samuel', 'Beckett', '’', 's', 'words', 'in', '[', 'i', ']', 'The', 'Unnamable', '[', 'i', ']', ',', 'about', 'being', '“', 'all', 'these', 'words', ',', 'all', 'these', 'strangers', ',', 'this', 'dust', 'of', 'words', ',', 'with', 'no', 'ground', 'for', 'their', 'settling', '”', '.', 'Footnotes', ':', '1', '.', 'Out', 'of', 'five', ',', 'the', 'sixth', 'lecture', 'was', 'never', 'written', ',', 'as', 'the', 'author', 'died', 'suddenly', 'and', 'the', 'series', 'remained', 'unfinished', ',', 'and', 'yet', 'published', 'with', 'its', 'original', ',', 'and', 'now', 'misleading', ',', 'title', '.', '2', '.', 'Italo', 'Calvino', ',', '[', 'i', ']', 'Visibility', ',', 'in', 'Six', 'Memos', 'for', 'the', 'Next', 'Millennium', '[', 'i', ']', ',', 'Harvard', 'University', 'Press', ',', 'Cambridge', '1988', ',', 'p.', '91', '.', '3.', 'ibid', ',', 'p.', '92', '.', '4.', 'ibid', ',', 'p.', '97', '.', '5.', 'ibid', '.', '6.', 'ibid', ',', 'p.', '98', '.', '7', '.', 'Italo', 'Calvino', ',', 'Multiplicity', ',', '[', 'i', ']', 'Six', 'Memos', 'for', 'the', 'Next', 'Millennium', '[', 'i', ']', ',', 'cit.', ',', 'p.', '105', '.', '8', '.', 'Or', '‘', 'art', '’', 'which', 'is', 'the', 'term', 'I', 'will', 'use', 'below', 'for', 'the', 'rest', 'of', 'this', 'essay', '.', '9', '.', 'Claire', 'Bishop', ',', '[', 'i', ']', 'Artificial', 'Hells', '.', 'Participatory', 'Art', 'and', 'the', 'Politics', 'of', 'Spectatorship', '[', 'i', ']', ',', 'Verso', ',', 'London-New', 'York', '2012', ',', 'p.', '33', '.', '10', '.', 'Respectively', 'by', 'the', 'independent', 'filmmaker', 'Sarah', 'Barberis', 'and', 'by', 'the', 'researcher', 'Laura', 'Gemini', 'at', 'the', 'Urbino', 'University', '.', '11', '.', 'An', 'active', 'group', 'of', 'spectators', 'invited', 'to', 'exercise', 'their', 'agency', 'over', 'the', 'artwork', '12', '.', 'See', 'Valeria', 'Graziano', ',', '[', 'i', ']', 'Prefigurative', 'Practices', ':', 'Raw', 'Materials', 'for', 'a', 'Political', 'Positioning', 'of', 'Art', ',', 'Leaving', 'the', 'Avant-garde', '[', 'i', ']', ',', 'in', 'Elke', 'van', 'Campenhout', 'and', 'Lilia', 'Mestre', '(', 'ed', '.', ')', ',', 'Turn', ',', 'Turtle', '!', 'Reenacting', 'the', 'Institute', ',', 'Alexander', 'Verlag', ',', 'Berlin', '2016', ',', 'pp', '.', '158-172', '.']\n" + ] + } + ], + "source": [ + "tokens = nltk.word_tokenize(txt)\n", + "print(tokens)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## NLTK Text object" + ] + }, + { + "cell_type": "code", + "execution_count": 5, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "\n" + ] + } + ], + "source": [ + "text = nltk.Text(tokens)\n", + "print(text)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## similarities" + ] + }, + { + "cell_type": "code", + "execution_count": 6, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "real potentiality resonances spectatorship original\n" + ] + } + ], + "source": [ + "# With a small next step ...\n", + "similar = text.similar(\"undecidability\")" + ] + }, + { + "cell_type": "code", + "execution_count": 31, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "the_world less_than its_and\n" + ] + } + ], + "source": [ + "# And searching for contexts ...\n", + "contexts = text.common_contexts([\"real\"])" + ] + }, + { + "cell_type": "code", + "execution_count": 32, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "s_is its_and the_generated glimmering_indeed intact_of\n" + ] + } + ], + "source": [ + "contexts2 = text.common_contexts([\"potentiality\"])" + ] + }, + { + "cell_type": "code", + "execution_count": 33, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "and_between its_and\n" + ] + } + ], + "source": [ + "contexts3 = text.common_contexts([\"resonances\"])" + ] + }, + { + "cell_type": "code", + "execution_count": 34, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "of_the of_that of_i\n" + ] + } + ], + "source": [ + "contexts4 = text.common_contexts([\"spectatorship\"])" + ] + }, + { + "cell_type": "code", + "execution_count": 36, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "its_and\n" + ] + } + ], + "source": [ + "contexts5 = text.common_contexts([\"original\"])" + ] + }, + { + "cell_type": "code", + "execution_count": 38, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "*START*_silvia for_as fact_is sense_is its_here of_i that_produces\n", + "of_art it_could its_and\n" + ] + } + ], + "source": [ + "contexts6 = text.common_contexts([\"undecidability\"])" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## concordance" + ] + }, + { + "cell_type": "code", + "execution_count": 43, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "Displaying 4 of 4 matches:\n", + "erent realities into its operation modes and doesn ’ t fade out from the scene of the ‘ real ’ world . We might stretch this line of thought a bit further and propose that art ’ s \n", + "nature and just exist as such . None of the images of an artwork are being more or less real than the others , no matter whether they come as pieces of reality or as products of in\n", + "re invited to enter the work ’ s fictional world carrying with themselves the so-called real world and all their other fictional worlds ; a space is created where all these worlds \n", + " forms of spectatorship , the performance itself keeps an undecidable bound between its real and fictional ontologies . The performative work of [ i ] Azdora [ i ] is then intrinsi\n" + ] + } + ], + "source": [ + "# This is what you did with Michael before the break ...\n", + "concordance1 = text.concordance(\"real\", width=180)" + ] + }, + { + "cell_type": "code", + "execution_count": 29, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "Displaying 5 of 5 matches:\n", + "orld . We might stretch this line of thought a bit further and propose that art ’ s potentiality is that of multiplying the visible as an actual counterstrategy to the proliferatio\n", + "he possibility of its actualisation , a world is potential when it can maintain its potentiality and never actualize itself into one actual form . In particular , the potentiality \n", + " potentiality and never actualize itself into one actual form . In particular , the potentiality generated by undecidable artworks is grounded in a logic of addition and contradict\n", + "ubject : it is not there to actualize itself but to keep being a sheer , glimmering potentiality . Indeed , as a practice of undecidability , art produces a collectivity , a future\n", + "s as a means without ends , seems to better protect the inner nature and the intact potentiality of a quality that does not make itself available for any use and does not serve any\n" + ] + } + ], + "source": [ + "concordance2 = text.concordance(\"potentiality\", width=180)" + ] + }, + { + "cell_type": "code", + "execution_count": 11, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "Displaying 2 of 2 matches:\n", + "ex system of links , bounds , and resonances between different potential and a\n", + "s at large : the unfolding of its resonances and consequences already opens th\n" + ] + } + ], + "source": [ + "concordance3 = text.concordance(\"resonances\")" + ] + }, + { + "cell_type": "code", + "execution_count": 25, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "Displaying 3 of 3 matches:\n", + " of different media already implies different angles , durations , discourses , and forms of spectatorship , the performance itself keeps an undecidable bound between its real and fictional ontologie\n", + "rt and of its politics today , is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and po\n", + "s essay . 9 . Claire Bishop , [ i ] Artificial Hells . Participatory Art and the Politics of Spectatorship [ i ] , Verso , London-New York 2012 , p. 33 . 10 . Respectively by the independent filmmake\n" + ] + } + ], + "source": [ + "concordance4 = text.concordance(\"spectatorship\", width=200)" + ] + }, + { + "cell_type": "code", + "execution_count": 22, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "Displaying 1 of 1 matches:\n", + "sixth lecture was never written , as the author died suddenly and the series remained unfinished , and yet published with its original , and now misleading , title . 2 . Italo Calvino , [ i ] Visibility , in Six Memos for the Next Millennium [ i ] , Harvard Un\n" + ] + } + ], + "source": [ + "concordance5 = text.concordance(\"original\", width=260)" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "----------------" + ] + }, + { + "cell_type": "code", + "execution_count": 44, + "metadata": {}, + "outputs": [ + { + "ename": "TypeError", + "evalue": "'NoneType' object is not iterable", + "output_type": "error", + "traceback": [ + "\u001b[0;31m---------------------------------------------------------------------------\u001b[0m", + "\u001b[0;31mTypeError\u001b[0m Traceback (most recent call last)", + "\u001b[0;32m\u001b[0m in \u001b[0;36m\u001b[0;34m\u001b[0m\n\u001b[0;32m----> 1\u001b[0;31m \u001b[0mlist\u001b[0m\u001b[0;34m(\u001b[0m\u001b[0mconcordance1\u001b[0m\u001b[0;34m)\u001b[0m\u001b[0;34m\u001b[0m\u001b[0;34m\u001b[0m\u001b[0m\n\u001b[0m", + "\u001b[0;31mTypeError\u001b[0m: 'NoneType' object is not iterable" + ] + } + ], + "source": [ + "list(concordance1)" + ] + }, + { + "cell_type": "code", + "execution_count": 45, + "metadata": {}, + "outputs": [], + "source": [ + "li_real = ['Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world.', 'Here, spectators are invited to enter the work’s fictional world carrying with themselves the so-called real world and all their other fictional worlds; a space is created where all these worlds are equally welcomed.', 'Here, spectators are invited to enter the work’s fictional world carrying with themselves the so-called real world and all their other fictional worlds; a space is created where all these worlds are equally welcomed.', 'If the coexistence of different media already implies different angles, durations, discourses, and forms of spectatorship, the performance itself keeps an undecidable bound between its real and fictional ontologies. ']" + ] + }, + { + "cell_type": "code", + "execution_count": 46, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world.', 'Here, spectators are invited to enter the work’s fictional world carrying with themselves the so-called real world and all their other fictional worlds; a space is created where all these worlds are equally welcomed.', 'Here, spectators are invited to enter the work’s fictional world carrying with themselves the so-called real world and all their other fictional worlds; a space is created where all these worlds are equally welcomed.', 'If the coexistence of different media already implies different angles, durations, discourses, and forms of spectatorship, the performance itself keeps an undecidable bound between its real and fictional ontologies. ']\n" + ] + } + ], + "source": [ + "print(li_real)" + ] + }, + { + "cell_type": "code", + "execution_count": 49, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "'Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world.'" + ] + }, + "execution_count": 49, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "random.choice(li_real)" + ] + }, + { + "cell_type": "code", + "execution_count": 50, + "metadata": {}, + "outputs": [], + "source": [ + "li_potentiality =['We might stretch this line of thought a bit further and propose that art’s potentiality is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us. ', 'In fact, if something is possible when it contains and under certain terms performs the possibility of its actualisation, a world is potential when it can maintain its potentiality and never actualize itself into one actual form.', 'In particular, the potentiality generated by undecidable artworks is grounded in a logic of addition and contradiction that is specific of art.', 'The kind of collective body that undecidability produces could of course be seen as an image of a possible or future societal structure, but it is rather an enigmatic subject: it is not there to actualize itself but to keep being a sheer, glimmering potentiality.', 'Nevertheless, acknowledging it as specific to art, and thus as a means without ends, seems to better protect the inner nature and the intact potentiality of a quality that does not make itself available for any use and does not serve any agenda, but stays autonomous and operates by creating its own conditions all over again. ']" + ] + }, + { + "cell_type": "code", + "execution_count": 51, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "'We might stretch this line of thought a bit further and propose that art’s potentiality is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us. '" + ] + }, + "execution_count": 51, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "random.choice(li_potentiality)" + ] + }, + { + "cell_type": "code", + "execution_count": 52, + "metadata": {}, + "outputs": [], + "source": [ + "li_resonances = ['In fact, undecidability is a specific force at work that consciously articulates, redefines, or alters the complex system of links, bounds, and resonances between different potential and actual worlds.', 'Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it.']" + ] + }, + { + "cell_type": "code", + "execution_count": 53, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "'Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it.'" + ] + }, + "execution_count": 53, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "random.choice(li_resonances)" + ] + }, + { + "cell_type": "code", + "execution_count": 54, + "metadata": {}, + "outputs": [], + "source": [ + "li_spectatorship = ['If the coexistence of different media already implies different angles, durations, discourses, and forms of spectatorship, the performance itself keeps an undecidable bound between its real and fictional ontologies.', 'What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view.']" + ] + }, + { + "cell_type": "code", + "execution_count": 55, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "'What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view.'" + ] + }, + "execution_count": 55, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "random.choice(li_spectatorship)" + ] + }, + { + "cell_type": "code", + "execution_count": 56, + "metadata": {}, + "outputs": [], + "source": [ + "li_original = ['Out of five, the sixth lecture was never written, as the author died suddenly and the series remained unfinished, and yet published with its original, and now misleading, title.']" + ] + }, + { + "cell_type": "code", + "execution_count": 57, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['Out of five, the sixth lecture was never written, as the author died suddenly and the series remained unfinished, and yet published with its original, and now misleading, title.']\n" + ] + } + ], + "source": [ + "print(li_original)" + ] + }, + { + "cell_type": "code", + "execution_count": 60, + "metadata": {}, + "outputs": [], + "source": [ + "li_total = ['Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world.', 'We might stretch this line of thought a bit further and propose that art’s potentiality is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us.', 'Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it.', 'What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view.']" + ] + }, + { + "cell_type": "code", + "execution_count": 61, + "metadata": {}, + "outputs": [], + "source": [ + "random.shuffle(li_total)" + ] + }, + { + "cell_type": "code", + "execution_count": 62, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "['What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view.', 'Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world.', 'Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it.', 'We might stretch this line of thought a bit further and propose that art’s potentiality is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us.']\n" + ] + } + ], + "source": [ + "print(li_total)" + ] + }, + { + "cell_type": "code", + "execution_count": 1, + "metadata": {}, + "outputs": [], + "source": [ + "sentence_whole = \"What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view. Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world. Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. We might stretch this line of thought a bit further and propose that art’s potentiality is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us.\"" + ] + }, + { + "cell_type": "code", + "execution_count": 2, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "str" + ] + }, + "execution_count": 2, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "type(sentence_whole)" + ] + }, + { + "cell_type": "code", + "execution_count": 21, + "metadata": {}, + "outputs": [], + "source": [ + "sentence_swap1 = sentence_whole.replace(\"potentiality\", \"resonances\")" + ] + }, + { + "cell_type": "code", + "execution_count": 22, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view. Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world. Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. We might stretch this line of thought a bit further and propose that art’s resonances is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us.\n" + ] + } + ], + "source": [ + "print(sentence_swap1)" + ] + }, + { + "cell_type": "code", + "execution_count": 23, + "metadata": {}, + "outputs": [], + "source": [ + "sentence_swap2 = sentence_whole.replace(\"potentiality\", \"real\")" + ] + }, + { + "cell_type": "code", + "execution_count": 24, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view. Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world. Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. We might stretch this line of thought a bit further and propose that art’s real is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us.\n" + ] + } + ], + "source": [ + "print(sentence_swap2)" + ] + }, + { + "cell_type": "code", + "execution_count": 25, + "metadata": {}, + "outputs": [], + "source": [ + "sentence_swap3 = sentence_whole.replace(\"potentiality\", \"spectatorship\")" + ] + }, + { + "cell_type": "code", + "execution_count": 26, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view. Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world. Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. We might stretch this line of thought a bit further and propose that art’s spectatorship is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us.\n" + ] + } + ], + "source": [ + "print(sentence_swap3)" + ] + }, + { + "cell_type": "code", + "execution_count": 27, + "metadata": {}, + "outputs": [], + "source": [ + "sentence_swap4 = sentence_whole.replace(\"potentiality\", \"original\")" + ] + }, + { + "cell_type": "code", + "execution_count": 28, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view. Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world. Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. We might stretch this line of thought a bit further and propose that art’s original is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us.\n" + ] + } + ], + "source": [ + "print(sentence_swap4)" + ] + }, + { + "cell_type": "code", + "execution_count": 29, + "metadata": {}, + "outputs": [], + "source": [ + "myTuple = (sentence_swap1, sentence_swap2, sentence_swap3, sentence_swap4)" + ] + }, + { + "cell_type": "code", + "execution_count": 58, + "metadata": {}, + "outputs": [], + "source": [ + "total = \"\\n\\t\\t\".join(myTuple)" + ] + }, + { + "cell_type": "code", + "execution_count": 59, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "str" + ] + }, + "execution_count": 59, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "type(total)" + ] + }, + { + "cell_type": "code", + "execution_count": 66, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view. Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world. Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. We might stretch this line of thought a bit further and propose that art’s resonances is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us.\n", + "\t\tWhat is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view. Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world. Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. We might stretch this line of thought a bit further and propose that art’s real is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us.\n", + "\t\tWhat is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view. Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world. Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. We might stretch this line of thought a bit further and propose that art’s spectatorship is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us.\n", + "\t\tWhat is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view. Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world. Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. We might stretch this line of thought a bit further and propose that art’s original is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us.\n" + ] + } + ], + "source": [ + "print(total)" + ] + }, + { + "cell_type": "code", + "execution_count": 67, + "metadata": {}, + "outputs": [], + "source": [ + "f = open('total.html', 'w')" + ] + }, + { + "cell_type": "code", + "execution_count": 68, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "3664" + ] + }, + "execution_count": 68, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "f.write(total)" + ] + }, + { + "cell_type": "code", + "execution_count": 72, + "metadata": {}, + "outputs": [], + "source": [ + "import PyPDF2" + ] + }, + { + "cell_type": "code", + "execution_count": 74, + "metadata": {}, + "outputs": [], + "source": [ + "from PyPDF2 import PdfFileReader, PdfFileWriter" + ] + }, + { + "cell_type": "code", + "execution_count": 76, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "Error: Unable to find file.\n", + "Error: Failed to open PDF file: \n", + " pdf/potentiality2.pdf\n", + "Errors encountered. No output created.\n", + "Done. Input errors, so no output created.\n" + ] + } + ], + "source": [ + "!pdftk pdf/potentiality2.pdf background pdf/potentiality.pdf output pdf/con.pdf " + ] + }, + { + "cell_type": "code", + "execution_count": 77, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "Error: Unable to find file.\n", + "Error: Failed to open PDF file: \n", + " pdf/potentiality2.pdf\n", + "Errors encountered. No output created.\n", + "Done. Input errors, so no output created.\n" + ] + } + ], + "source": [ + "!pdftk pdf/potentiality2.pdf stamp pdf/potentiality.pdf output pdf/result.pdf " + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": 61, + "metadata": {}, + "outputs": [], + "source": [ + "from weasyprint import HTML, CSS\n", + "from weasyprint.fonts import FontConfiguration" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": 17, + "metadata": {}, + "outputs": [], + "source": [ + "sentence_swap1_bold = sentence_swap1.replace(\"resonances\", \"resonances\")" + ] + }, + { + "cell_type": "code", + "execution_count": 18, + "metadata": {}, + "outputs": [ + { + "name": "stdout", + "output_type": "stream", + "text": [ + "What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view. Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world. Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. We might stretch this line of thought a bit further and propose that art’s resonances is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us.\n" + ] + } + ], + "source": [ + "print(sentence_swap1_bold)" + ] + }, + { + "cell_type": "code", + "execution_count": 19, + "metadata": {}, + "outputs": [], + "source": [ + "f = open('ag.html', 'w')" + ] + }, + { + "cell_type": "code", + "execution_count": 20, + "metadata": {}, + "outputs": [ + { + "data": { + "text/plain": [ + "949" + ] + }, + "execution_count": 20, + "metadata": {}, + "output_type": "execute_result" + } + ], + "source": [ + "f.write(sentence_swap1_bold)" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "## Read on" + ] + }, + { + "cell_type": "markdown", + "metadata": {}, + "source": [ + "https://www.nltk.org/book/ch01.html#searching-text (recommended!)" + ] + }, + { + "cell_type": "code", + "execution_count": null, + "metadata": {}, + "outputs": [], + "source": [] + } + ], + "metadata": { + "kernelspec": { + "display_name": "Python 3", + "language": "python", + "name": "python3" + }, + "language_info": { + "codemirror_mode": { + "name": "ipython", + "version": 3 + }, + "file_extension": ".py", + "mimetype": "text/x-python", + "name": "python", + "nbconvert_exporter": "python", + "pygments_lexer": "ipython3", + "version": "3.7.3" + } + }, + "nbformat": 4, + "nbformat_minor": 4 +} diff --git a/UNDECIDABILITY/nouns.html b/UNDECIDABILITY/nouns.html new file mode 100644 index 0000000..30fe46f --- /dev/null +++ b/UNDECIDABILITY/nouns.html @@ -0,0 +1,10 @@ + + + + + + + + +Undecidability Silvia Bottiroli Multiplying the Visible The word [ i ] undecidable [ i ] appears in [ i ] Six Memos for the Next Millennium [ i ] written by Italo Calvino in 1985 for his Charles Eliot Norton poetry lectures at Harvard University . In the last months of his life Calvino worked feverishly on these lectures , but died in the process . In the five memos he left behind , he did not only open up on values for a future millennium to come but also seemed to envision future as a darkness that withholds many forms of visibility within . Calvino s fourth memo , [ 1 ] [ i ] Visibility [ i ] , revolves around the capacity of literature to generate images and to create a kind of mental cinema where fantasies can flow continuously . Calvino focuses on the imagination as the repertory of what is potential ; what is hypothetical ; what does not exist and has never existed ; and perhaps will never exist but might have existed. [ 2 ] The main concern that he brings forth lies within the relation between contemporary culture and imagination : the risk to definitely lose , in the overproduction of images , the power of bringing visions into focus with our eyes shut and in fact of [ i ] thinking [ i ] in terms of images. [ 3 ] In the last pages of the lecture , he proposes a shift from understanding the fantastic world of the artist , not as indefinable , but as [ i ] undecidable [ i ] . With this word , Calvino means to define the coexistence and the relation , within any literary work , between three different dimensions . The first dimension is the artist s imagination a world of potentialities that no work will succeed in realizing . The second is the reality as we experience it by living . Finally , the third is the world of the actual work , made by the layers of signs that accumulate in it ; compared to the first two worlds , it is also infinite , but more easily controlled , less refractory to formulation. [ 4 ] He calls the link between these three worlds the undecidable , the paradox of an infinite whole that contains other infinite wholes. [ 5 ] For Calvino , artistic operations involve , by the means of the infinity of linguistic possibilities , the infinity of the artist s imagination , and the infinity of contingencies . Therefore , [ the ] attempts to escape the vortex of multiplicity are useless. [ 6 ] In his fifth memo , he subsequently focuses on [ i ] multiplicity [ i ] as a way for literature to comprehend the complex nature of the world that for the author is a whole of wholes , where the acts of watching and knowing also intervene in the observed reality and alter it . Calvino is particularly fascinated by literary works that are built upon a combinatory logic or that are readable as different narratives . The lecture revolves around some novels that contain multiple worlds and make space for the readers imaginations . The common source to all these experiments seems to rely in the understanding of the contemporary novel as an encyclopedia , as a method of knowledge , and , above all , as a network of connections between the events , the people , and the things of the world. [ 7 ] Therefore , let s think visibility and multiplicity together , as : a multiplication of visibilities . They are traits specific to artistic production and define a context for the undecidable , or rather for undecidability , as the quality of being undecidable . Calvino seems to suggest that literature [ 8 ] can be particularly productive of futures , if it makes itself visible and multiple . Which is to say , if it doesn t give up on involving radically different realities into its operation modes and doesn t fade out from the scene of the real world . We might stretch this line of thought a bit further and propose that art s potentiality is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us . A strategy that is capable of producing different conditions of visibility . Embracing what we are capable to see but also think and imagine , to fantasise and conceptualise ; and bringing into existence different configurations of public spaces , collective subjectivities , and social gatherings . Actual and Potential Worlds In fact , undecidability is a specific force at work that consciously articulates , redefines , or alters the complex system of links , bounds , and resonances between different potential and actual worlds . In this sense , undecidability is a quality specific to some artworks within which the three worlds that Calvino describes meet and yet remain untouched , autonomous , and recognizable . An artwork can indeed create a magnetic field where different actual worlds coexist and , by living next to each other yet not sharing a common horizon , generate a potential world . Then potential does not mean possible. In fact , if something is possible when it contains and under certain terms performs the possibility of its actualisation , a world is potential when it can maintain its potentiality and never actualize itself into one actual form . In particular , the potentiality generated by undecidable artworks is grounded in a logic of addition and contradiction that is specific of art . A logic of and… and… and… as opposite to the logic of either… or… that seems to rule reality . Artworks are places where contradictory realities can coexist without withdrawing or cancelling each other out . They can be sites of existence and of experience where images let go of their representational nature and just exist as such . None of the images of an artwork are being more or less real than the others , no matter whether they come as pieces of reality or as products of individual or collective fantasies . It is the art ( work ) as such that creates a ground where all the images that come into visibility share the same gradient of reality , no matter whether they harmoniously coexist or are radically conflicting . If every work builds up complete systems that are offered to its visitors or spectators to enter into if the invitation of art is often that of losing the contact with known worlds in order to slip into others something radically different happens within an art that practices its undecidability . Here , spectators are invited to enter the work s fictional world carrying with themselves the so-called real world and all their other fictional worlds ; a space is created where all these worlds are equally welcomed . The artwork may then be navigated either by only choosing one layer of reality , or by continuously stepping from one world to another different dimensions are made available without any form of hierarchy or predicted relations . Such dynamics seems to occur in performative works in particular , as the contemporaneity of production , consumption , and experience that is typical of performance intensifies the possibility of undecidable links between different realities . Moreover , in the live arts the curatorial context is normally visible as well and provides one more layer to the work by framing or mediating it . Azdora A good example of an undecidable artwork is Markus Öhrn s [ i ] Azdora [ i ] , a long-term project that was initiated and coproduced by Santarcangelo Festival in 2015 . As the festival artistic director at that time I had the chance to follow and support the project . The work was triggered by the encounter between the artist , in Santarcangelo for a research residency , and the feminine condition present in traditional family structures in this region of Italy . In particular , what struck him was the figure of the azdora , a dialect word that means the holder of the house and of the family the woman who is in charge of the domestic life and of the labours of care . This figure is at the same time powerful , subordinate , and even repressed : through her devotion , she is sacrificed to the family and to the care of the relationships that keep it together . Interested in investigating this feminine figure and the possibility that it suggests of a matriarchal societal structure , the artist made a call for azdoras to work together with him on the creation of a series of rituals and later on a concert . Both the rituals and the concert revolve around the possibility of emancipation and the exploration of the wild , even destructive side of the figure of the Azdora . Twenty-eight women committed to a long-term project together with Markus Öhrn and dived into his imagery and artistic world made of diverse ingredients among which were the tattoo culture , the cult of bodybuilding , and the noise music practice . At the same time , the azdoras were asked to bring in their own ingredients ; imageries , concerns , and desires . Together with the artist and the female musician ? Alos and with the mediation of the festival , they embarked into the adventure of entering a place that did not exist yet , creating a new set of rules and behaviours for themselves and for the spectators who would eventually join their rituals , attend their noise concert , or bump into their interventions in the public space during the festival period . Similar to other artistic projects that one could trace back to the practice of undecidability , [ i ] Azdora [ i ] mingles different realities and fantastic worlds and also activates a participatory dynamic , yet preserving the grey [ i ] artistic [ i ] work of participatory art. [ 9 ] In other words , it creates and protects a space of indeterminacy . In fact , [ i ] Azdora [ i ] is at the same time a performative picture , an artistic fantasy , a community theatre work , an emancipatory process , an ongoing workshop , a social ritual , and a concert . Furthermore , from the project a documentary movie and a sociological survey have been produced , [ 10 ] multiplying the possibility to access the work from different angles and via different formats . If the coexistence of different media already implies different angles , durations , discourses , and forms of spectatorship , the performance itself keeps an undecidable bound between its real and fictional ontologies . The performative work of [ i ] Azdora [ i ] is then intrinsically political according to Rancière definition of metapolitics : a destabilising action that produces a conflict vis à vis what is thinkable and speakable . [ i ] Azdora [ i ] allows different interpretations and produces conflicting discourses , yet remaining untouched . This does not necessarily mean complete though as , on the contrary , it is generating a multiplicity of different gazes that are all legitimate and complete but yet do not exhaust the work . This is what makes the performance itself unfulfilled and thus incomplete and open . A Multiplicity of Gazes An undecidable artwork is , in other words , a site where different and even contradictory individual experiences unfold and coexist , with no hierarchical structure and no orchestration . It is a site where spectators gazes are not composed into a common horizon but are let free to wildly engage with all the realities involved , connecting or not connecting them , and in the end to experience part of the complex whole of wholes that is the artwork ( while being aware or unaware of the existence of other wholes and of other gazes ) . What is peculiar to this kind of artworks then , and what within them can produce an understanding of the place of art and of its politics today , is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view . The multiplicity of gazes produced and gathered by undecidable artworks does not compose itself into a community , as there is no common present . Rather , it generates a radical collectivity based on multiplicity and on conflicting positions that are not called to any form of negotiation , but just to a cohabitation of the space of the work . Spectators and their views and imaginations are acknowledged as equal parts of a collective body that exist next to each other . They don t fuse in one common thought and don t see or reflect one common image , yet effect each other by their sheer presence and existence , operating as a prism that multiplies the reality it reflects . A space of communication is opened here that is not meant for unilateral or bilateral exchanges , but rather for a circulation of information and interpretations both of fictions and projections . A circulation over which no one not even the artist exercises a full control . The place of the author is then challenged and responsibility is shared with the audience not as a participant , [ 11 ] but rather as an unknowable and undecidable collective body that receives , reverberates , and twists it . Multiple forms of public spaces and collective subjectivities thus arise and start inhabiting a productive time that goes much beyond the artwork itself and is still loaded by the specific geography of infinities that it has produced . The kind of collective body that undecidability produces could of course be seen as an image of a possible or future societal structure , but it is rather an enigmatic subject : it is not there to actualize itself but to keep being a sheer , glimmering potentiality . Indeed , as a practice of undecidability , art produces a collectivity , a future time , and an elsewhere , but does not claim any agency over them . It rather operates in a regime of prefiguration , [ 12 ] which is to say it does not tend towards a pre-existing , visible image . On the contrary , it proceeds in the darkness in order to produce different forms of visibility within it . Undecidability could then be detached from art and applied to curation , instituting processes or even to politics at large : the unfolding of its resonances and consequences already opens this possibility and even beckons it . Nevertheless , acknowledging it as specific to art , and thus as a means without ends , seems to better protect the inner nature and the intact potentiality of a quality that does not make itself available for any use and does not serve any agenda , but stays autonomous and operates by creating its own conditions all over again . Ultimately , a political dimension does spring from an art that practices its undecidability and from its encounter with a multiplicity of gazes . Preserving it is possible also by curating the relation between the artworks and their spectators and by setting the conditions for an intensity that can last in time and reverberate much wider and much longer than in the actual shared space and time of the performance . Through the combination of the encounter between undecidable art , multiplicity of gazes , and a curatorial dimension a condition of existence is produced that is intrinsically and utterly political as it is , with Samuel Beckett s words in [ i ] The Unnamable [ i ] , about being all these words , all these strangers , this dust of words , with no ground for their settling . Footnotes : 1 . Out of five , the sixth lecture was never written , as the author died suddenly and the series remained unfinished , and yet published with its original , and now misleading , title . 2 . Italo Calvino , [ i ] Visibility , in Six Memos for the Next Millennium [ i ] , Harvard University Press , Cambridge 1988 , p. 91 . 3. ibid , p. 92 . 4. ibid , p. 97 . 5. ibid . 6. ibid , p. 98 . 7 . Italo Calvino , Multiplicity , [ i ] Six Memos for the Next Millennium [ i ] , cit. , p. 105 . 8 . Or art which is the term I will use below for the rest of this essay . 9 . Claire Bishop , [ i ] Artificial Hells . Participatory Art and the Politics of Spectatorship [ i ] , Verso , London-New York 2012 , p. 33 . 10 . Respectively by the independent filmmaker Sarah Barberis and by the researcher Laura Gemini at the Urbino University . 11 . An active group of spectators invited to exercise their agency over the artwork 12 . See Valeria Graziano , [ i ] Prefigurative Practices : Raw Materials for a Political Positioning of Art , Leaving the Avant-garde [ i ] , in Elke van Campenhout and Lilia Mestre ( ed . ) , Turn , Turtle ! Reenacting the Institute , Alexander Verlag , Berlin 2016 , pp . 158-172 . + diff --git a/UNDECIDABILITY/relevant.txt b/UNDECIDABILITY/relevant.txt new file mode 100644 index 0000000..caf60fc --- /dev/null +++ b/UNDECIDABILITY/relevant.txt @@ -0,0 +1,12 @@ +Which is to say, if it doesn’t give up on involving radically different realities into its operation modes and doesn’t fade out from the scene of the ‘real’ world. +Here, spectators are invited to enter the work’s fictional world carrying with themselves the so-called real world and all their other fictional worlds; a space is created where all these worlds are equally welcomed. +If the coexistence of different media already implies different angles, durations, discourses, and forms of spectatorship, the performance itself keeps an undecidable bound between its real and fictional ontologies. +We might stretch this line of thought a bit further and propose that art’s potentiality is that of multiplying the visible as an actual counterstrategy to the proliferation of images that surrounds us. +In fact, if something is possible when it contains and under certain terms performs the possibility of its actualisation, a world is potential when it can maintain its potentiality and never actualize itself into one actual form. +In particular, the potentiality generated by undecidable artworks is grounded in a logic of addition and contradiction that is specific of art. +The kind of collective body that undecidability produces could of course be seen as an image of a possible or future societal structure, but it is rather an enigmatic subject: it is not there to actualize itself but to keep being a sheer, glimmering potentiality. +Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. -Nevertheless, acknowledging it as specific to art, and thus as a means without ends, seems to better protect the inner nature and the intact potentiality of a quality that does not make itself available for any use and does not serve any agenda, but stays autonomous and operates by creating its own conditions all over again. +In fact, undecidability is a specific force at work that consciously articulates, redefines, or alters the complex system of links, bounds, and resonances between different potential and actual worlds. +Undecidability could then be detached from art and applied to curation, instituting processes or even to politics at large: the unfolding of its resonances and consequences already opens this possibility and even beckons it. (Nevertheless, acknowledging it as specific to art, and thus as a means without ends, seems to better protect the inner nature and the intact potentiality of a quality that does not make itself available for any use and does not serve any agenda, but stays autonomous and operates by creating its own conditions all over again. +If the coexistence of different media already implies different angles, durations, discourses, and forms of spectatorship, the performance itself keeps an undecidable bound between its real and fictional ontologies. +What is peculiar to this kind of artworks then, and what within them can produce an understanding of the place of art and of its politics today, is that they generate a multiplicity of gazes and of forms of spectatorship that also coexist one next to the other without mediating between their own positions and points of view. diff --git a/UNDECIDABILITY/und_response.html b/UNDECIDABILITY/und_response.html new file mode 100644 index 0000000..be15b70 --- /dev/null +++ b/UNDECIDABILITY/und_response.html @@ -0,0 +1,181 @@ + + + + + + + + + + + + +
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+

UNDECIDABILITY

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+ HOME      + ORIGINAL ESSAY     + REINTERPRETATION +
+ +
+
+Jozef Wouters has been active as a scenographer and artist since 2007. Wouters often departs from questions and ideas that gradually take shape inside and outside the boundaries of making. Strategic spaces thereby enter into dialogues with social processes and the power of the imagination; sometimes functional, sometimes committed or absurd, but always with a focus on the things that preoccupy him as an artist and as a person. Wouters’ own work often relates to a specific location, such as All problems can never be solved (2012) for the Cité Modèle in Laeken and the Zoological Institute for Recently Extinct Species (2013) for the Museum of Natural Sciences in Brussels, and his Decoratelier performance INFINI 1-15 (2016) for the main auditorium at the Brussels City Theatre (KVS). Wouters is an integral part of Damaged Goods, the Brussels based company of choreographer Meg Stuart. He initiates projects as an independent artist in residence, using his Decoratelier in Brussels as a base.
+






















+ +
+ + If you say the word undecided I see someone walking around, restless, searching. But if you say the word undecidability I see someone who is standing still. Someone standing next to something in doubt. +
(...)
+It seems to be a choice, an ability: the ability to linger, to remain undecidable. It makes me think of a balancing act, a thing that is not yet in its final position, has not fallen and, maybe never will -- forever tilting in a situation that is deliberately undecidable. +
(...)
+In fact undecidability needs to be a choice in order to become a value, an ability, an attitude. +
(...)
+Undecidability can be found by looking for weakness in one’s own work, standing next to it, pointing to its vulnerability. People say this is my weakness: I stand next to my work and talk about it. It might be true. But that is the weakness I am looking for. Together with an audience, I want to look at the work in a state of doubt. I need to stand next to it, looking at it and looking with it, doubting it and doubting with it. This position of doubt, often literally on the right hand side of the work, is the state I want to be in. +
(...)
+In a letter written to his patrons, Michelangelo complains that the Vatican is forcing him to provide a wooden scale model of his design for Saint-Peters Cathedral. There was a fear he would die without completing the project and his vision would be lost without a precise scale model. In his letter Michelangelo writes that he prefers clay because it can be remodeled easier while wood finalizes the design too much and leaves no space for doubt. +
(...)
+Now I have to think of a chair we placed on a playground in a social housing neighbourhood in Brussels. I did a project there called All Problems Can Never Be Solved which began as a fictional architecture office called ‘Bureau des Architectes’, that was working in and with the neighbourhood for six months. During that project someone asked us for more places in the neighborhood playground for the parents to sit to watch their children. So we placed a chair that doesn’t decide where one should sit. + +
+
+ + png + png + png + png + png + png + + + + +
+ In the end we had to decide to pour the chair into a concrete block.
(...)
+Undecidability is something else than flexibility. A flexible space postpones the necessary choices. A flexible space seems to be an apology. “Sorry for not being there,” says the architect who designs a flexible space. Flexible walls are not the future. Flexibility is the past excusing itself for not being present.
+(...)
+I imagine different times, realities and fictions present simultaneously. It doesn’t matter what is true and what is not, what is reality and what is fiction, they don’t need to be separated. They can just exist next to each other in undecidable relations. To think of time as not linear but layered. In relation to city planning and the question how do we make the city, I try to think about the past, present, and future as simultaneous.
+(...)
+Right now many artists seem to question the future as a concept. I think that might be because the future is hijacked by tech companies in Silicon Valley; commodifying the future as an update, a version one can buy, depriving it of its metaphorical quality to be both dark, bright, unknown, free, and undecidable.
+(...)
+
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WOR(L)DS FOR THE FUTURE
A Republishing Toolkit for an Imaginary Atlas

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WOR(L)DS FOR THE FUTURE!
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