diff --git a/.gitignore b/.gitignore index cb5f415..7bcd07f 100644 --- a/.gitignore +++ b/.gitignore @@ -1,3 +1,2 @@ -.ipynb_checkpoints -_kindofbin +.ipynb_checkpoints build diff --git a/00/assets/stylez.css b/00/assets/stylez.css index 14909f9..9b7d28b 100644 --- a/00/assets/stylez.css +++ b/00/assets/stylez.css @@ -79,8 +79,28 @@ figcaption { color: black; } +a:link { + text-decoration: none; +} + +a:visited { + text-decoration: none; +} + +a:hover { + text-decoration: none; +} + +a:active { + text-decoration: none; +} + /* Reveal */ +span.home{ + cursor: pointer; +} + span.reveal { cursor: pointer !important; } diff --git a/00/index.html b/00/index.html index 75e2cbc..db7d2d6 100644 --- a/00/index.html +++ b/00/index.html @@ -13,8 +13,8 @@
+ 🌍
-


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Guatavita Lagoon, CUN, COL
-
- - - - - \ No newline at end of file diff --git a/ATATA/figs/maiz.png b/ATATA/figs/maiz.png deleted file mode 100644 index 25fb0b2..0000000 Binary files a/ATATA/figs/maiz.png and /dev/null differ diff --git a/ATATA/index.html b/ATATA/index.html index f1bbd9d..3096fd8 100644 --- a/ATATA/index.html +++ b/ATATA/index.html @@ -31,7 +31,7 @@ I -

The purpose <--> the following text is to present <--> and preserve the concept <--> ATATA: it is a composition <--> two ideograms (fig.1) <--> the Mhuysqa dead language. ATATA can be defined <--> ‘I give myself <--> you give yourself, ’ where giving is an act <--> receiving, <--> what you do <--> others O is also affecting yourself. This exercise <--> reciprocity is a very important vibration <--> life <--> nobody can live <--> others, this includes all living creatures <--> whom we share the Earth. <--> a Colombian student <--> ancient history, I have experience <--> this concept <--> many years <--> learning <--> the wholesome ways <--> living <--> the indigenous people <--> both Colombia <--> Mexico.

+

The purpose <--> ? the following text is to present <--> preserve the concept <--> ATATA: it is a composition <--> two ideograms (fig.1) <--> the Mhuysqa dead language. ATATA can be defined <--> ‘I give myself <--> you give yourself, ’ where giving is an act <--> receiving, <--> what you do <--> others O is also affecting yourself. This exercise <--> reciprocity is a very important vibration <--> life <--> nobody can live <--> others, this includes all living creatures <--> whom we share the Earth. <--> a Colombian student <--> ancient history, I have experience <--> this concept <--> many years <--> learning <--> the wholesome ways <--> living <--> the indigenous people <--> both Colombia <--> Mexico.

It was <--> my PhD research <--> I experienced <--> looked further <--> the Mhuysqa <--> Mayan legacy. It was then <--> I realized the devastating reality that is currently affecting the quality <--> food. There is a systematic problem caused <--> the ‘green revolution’; <--> radical changes to the local ways <--> cultivation to the use <--> inputs made <--> sold <--> big global corporations which are creating dependency as well <--> poisoning the seeds, the soil, the water <--> therefore our own bodies. Meanwhile, <--> a response to this , an ‘ undercurrent ’ is developing everywhere – people are living <--> cultivating according to new <--> past principles <--> global corporations, recovering solidarity, hope H, life, food, <--> bio-diversifying forms <--> being.

diff --git a/ATATA/index_text.html b/ATATA/index_text.html index f8b0830..cba70cf 100644 --- a/ATATA/index_text.html +++ b/ATATA/index_text.html @@ -19,31 +19,32 @@ THE RELATIONSHIP
BETWEEN LIVING NATURE: PLANTS, TERRITORY, ANIMALS AND CULTURES. - - atata +
+ atata - +
Original Contribution: Natalia Chaves López1
+
I -

The purpose <-->of the following text is to present <-->and preserve the concept <-->of ATATA : it is a composition <-->of two ideograms (fig.1) <-->in the Mhuysqa dead language . <-->ATATA can be defined <-->as ‘ I give myself <-->and you give yourself , ’ where giving is an act <-->of receiving , <-->because what you do <-->for others O is also affecting yourself . This exercise <-->of reciprocity is a very important vibration <-->of life <-->because nobody can live <-->without others , this includes all living creatures <-->with whom we share the Earth . <-->As a Colombian student <-->of ancient history , I have experience <-->with this concept <-->for many years <-->through learning <-->about the wholesome ways <-->of living <-->with the indigenous people <-->in both Colombia <-->and Mexico .

+

The purpose <-->of the following text is to present <-->and preserve the concept <-->of ATATA : it is a composition <-->of two ideograms (fig.1)ata ta <-->in the Mhuysqa dead language . ATATA can be defined <-->as ‘ I give myself <-->and you give yourself , ’ where giving is an act <-->of receiving , <-->because what you do <-->for others O is also affecting yourself . This exercise <-->of reciprocity is a very important vibration <-->of life <-->because nobody can live <-->without others , this includes all living creatures <-->with whom we share the Earth . <-->As a Colombian student <-->of ancient history , I have experience <-->with this concept <-->for many years <-->through learning <-->about the wholesome ways <-->of living <-->with the indigenous people <-->in both Colombia <-->and Mexico .

It was <-->through my PhD research <-->that I experienced <-->and looked further <-->into the Mhuysqa <-->and Mayan legacy . It was then <-->that I realized the devastating reality that is currently affecting the quality <-->of food . There is a systematic problem caused <-->by the ‘green revolution <-->’ ; <-->from radical changes to the local ways <-->of cultivation to the use <-->of inputs made <-->and sold <-->by big global corporations which are creating dependency as well <-->as poisoning the seeds , the soil , the water <-->and therefore our own bodies . Meanwhile , <-->as a response to this , an ‘ undercurrent ’ is developing everywhere – people are living <-->and cultivating according to new <-->or past principles <-->outside global corporations , recovering solidarity , hope H , life , food , <-->and bio-diversifying forms <-->of being .

-

I have based my writings <-->on the perspective <-->of ‘ Heart´s Epistemology. ’ What I mean is <-->that heart <-->and brain come together <-->into my proposal <-->of bringing to light my feel-thoughts <-->about how to keep <-->on living <-->and how to make collective decisions <-->about territory (fig.2) E. The intention <-->of this essay is to find ourselves <-->and others O heart to heart . <-->In fact , the heart is the place where you keep dreams , hope , joy , <-->and pain , according to the Mayan culture . You need to have all these clear to know what is the kind <-->of living knowledge you want to go over . 2 <-->In the Mhuysqa´s worldview , the human heart is named * puyky * , an onomatopoeia <-->of the heartbeat , that is said to be connected <-->with the beating <-->of the cosmos itself , representing the frequency where one can find answers <-->in the path <-->of protecting life . The questions <-->that this essay aims to answer are : How to feel-think the future <-->of food <-->and water <-->from a perspective <-->of reciprocity ? Why is ATATA a fruitful principle <-->for the future survival <-->of the human kind ?

+

I have based my writings <-->on the perspective <-->of ‘ Heart´s Epistemology. ’ What I mean is <-->that heart <-->and brain come together <-->into my proposal <-->of bringing to light my feel-thoughts <-->about how to keep <-->on living <-->and how to make collective decisions <-->about territory (fig.2) heart E. The intention <-->of this essay is to find ourselves <-->and others O heart to heart . <-->In fact , the heart is the place where you keep dreams , hope , joy , <-->and pain , according to the Mayan culture . You need to have all these clear to know what is the kind <-->of living knowledge you want to go over . 2 <-->In the Mhuysqa´s worldview , the human heart is named * puyky * , an onomatopoeia <-->of the heartbeat , that is said to be connected <-->with the beating <-->of the cosmos itself , representing the frequency where one can find answers <-->in the path <-->of protecting life . The questions <-->that this essay aims to answer are : How to feel-think the future <-->of food <-->and water <-->from a perspective <-->of reciprocity ? Why is ATATA a fruitful principle <-->for the future survival <-->of the human kind ?

Mhuysqas are an ancient indigenous culture who live <-->in Cundinamarca <-->and Boyacá regions <-->of Colombia . They lost their language <-->in the eighteenth century , which consisted <-->of compact ideograms <-->and hieroglyphics representing complex ideas <-->about their understanding <-->of nature . <-->Today the Mhuysqas speak Spanish <-->because <-->of persecution <-->since the colonial period <-->and the banning <-->of their language , <-->but they kept some <-->of their ancestral ways <-->of living . I have studied their language , named Mhuysqhubun , <-->and I propose here to bring back to life the ‘ dead ’ word ATATA , <-->so <-->that it is not forgotten . ATATA is a palindrome unity made <-->by two ideograms <-->and hieroglyphics <-->of the moon calendar : Ata <-->and Ta . Mariana Escribano , 3 a linguist who writes <-->about the Mhuysqa language <-->and worldview , explains <-->that Ata refers to the number 1 , which <-->in cosmogony is relative to the beginning <-->of times . <-->From the eighteenth-century grammar <-->of the priest Jose Domingo Duquesne , we can translate the ideogram <-->as follows : “ the goods <-->and something else. ” This means common goods <-->or everything <-->that exists . It also refers to the primordial pond , which links it to water as well . Ta , the second sound <-->in the unity , is the number 6 <-->and represents a new beginning that is showing the comprehension <-->of time <-->in sequences <-->of 5 <-->and 20 . The priest Duquesne wrote <-->that Ta means “ tillage , harvest. ” The Ta ideogram also means the bearing <-->of fruits , the giving <-->of yourself freely , <-->as <-->in agriculture labor . <-->In this perspective the act <-->of giving is an act <-->of receiving ; it also implies the responsibility <-->of taking care <-->of what you are receiving .

-

One <-->of the most important acts <-->in Mhuysqa culture was the offering <-->in some holy lagoons L. The main offering happened <-->in Guatavita lagoon(fig.3) . This lagoon held the gold , offered <-->by Mhuysqas <-->and sought <-->after <-->by the Spanish conquers who heard <-->about it <-->and tried to dry the lagoon up . The leader <-->of the town <-->of Guatavita , covered <-->in gold , would be introduced <-->on a raft , adorned <-->with more gold <-->and emeralds . The raft would be then given to the lagoon followed <-->by the leader who would introduce himself <-->into the water <-->as an offering <-->of the gold that was covering him <-->and receive a purification bath . This astonishing ritual U R ATATA was done <-->as a reminder <-->of gratitude to water <-->as one <-->of the most important living beings . <-->In reciprocity some <-->of the few sacred female entities living <-->in the water , representing the lagoon itself , would hold the abundance <-->of Mhuysqa people . One <-->of the ways water supplied life to the people was <-->through rain , which provided corn to feed everybody . <-->In order to understand this reciprocal interaction/cycle <-->of humans-lagoons-rain-corn I refer to Tseltal Mayan people , who live <-->in the Highlands <-->of Chiapas <-->and the Lacandona jungle <-->in Mexico , who keep alive very ancient knowledge <-->and have the belief <-->that corn spirit is living <-->inside the mountains <-->and lakes . It is given to the humans <-->as result <-->of offerings asking <-->for maintenance <-->of people . ATATA can be related <-->with the Mayan Tseltal concept <-->of * Ich´el ta muk´ * translated <-->as “ respect <-->and recognition <-->for all living things <-->in nature. ” 4 The corn cycle is Tseltal life itself <-->and requires a permanent compromise , the way they explain this is <-->by referring to corn <-->as a double being . Seen <-->on one side <-->as a baby <-->and <-->on the other <-->as a woman supporting her family . When someone wastes corn , they can hear it crying – even <-->if a single seed is left <-->in the soil <-->or a piece <-->of tortilla lies <-->on the kitchen floor . When seen <-->as the woman supporting her family , it appears <-->in the harvest when the corncobs have smaller corns sticks . These are signals <-->that it is the mother <-->of the plant <-->and they do not eat it <-->because they prefer to hang it up <-->in the house <-->as a gesture <-->towards keeping abundance present <-->in the home <-->and community . This double reciprocal relation <-->with corn <-->as demanding care <-->on one hand <-->while <-->at the same time protecting its own people , is a meaningful trait <-->in understanding the power <-->of this spirit .

+

One <-->of the most important acts <-->in Mhuysqa culture was the offering <-->in some holy lagoons L. The main offering happened <-->in Guatavita lagoon(fig.3) guatavita . This lagoon held the gold , offered <-->by Mhuysqas <-->and sought <-->after <-->by the Spanish conquers who heard <-->about it <-->and tried to dry the lagoon up . The leader <-->of the town <-->of Guatavita , covered <-->in gold , would be introduced <-->on a raft , adorned <-->with more gold <-->and emeralds . The raft would be then given to the lagoon followed <-->by the leader who would introduce himself <-->into the water <-->as an offering <-->of the gold that was covering him <-->and receive a purification bath . This astonishing ritual U R ATATA was done <-->as a reminder <-->of gratitude to water <-->as one <-->of the most important living beings . <-->In reciprocity some <-->of the few sacred female entities living <-->in the water , representing the lagoon itself , would hold the abundance <-->of Mhuysqa people . One <-->of the ways water supplied life to the people was <-->through rain , which provided corn to feed everybody . <-->In order to understand this reciprocal interaction/cycle <-->of humans-lagoons-rain-corn I refer to Tseltal Mayan people , who live <-->in the Highlands <-->of Chiapas <-->and the Lacandona jungle <-->in Mexico , who keep alive very ancient knowledge <-->and have the belief <-->that corn spirit is living <-->inside the mountains <-->and lakes . It is given to the humans <-->as result <-->of offerings asking <-->for maintenance <-->of people . ATATA can be related <-->with the Mayan Tseltal concept <-->of * Ich´el ta muk´ * translated <-->as “ respect <-->and recognition <-->for all living things <-->in nature. ” 4 The corn cycle is Tseltal life itself <-->and requires a permanent compromise , the way they explain this is <-->by referring to corn <-->as a double being . Seen <-->on one side <-->as a baby <-->and <-->on the other <-->as a woman supporting her family . When someone wastes corn , they can hear it crying – even <-->if a single seed is left <-->in the soil <-->or a piece <-->of tortilla lies <-->on the kitchen floor . When seen <-->as the woman supporting her family , it appears <-->in the harvest when the corncobs have smaller corns sticks . These are signals <-->that it is the mother <-->of the plant <-->and they do not eat it <-->because they prefer to hang it up <-->in the house <-->as a gesture <-->towards keeping abundance present <-->in the home <-->and community . This double reciprocal relation <-->with corn <-->as demanding care <-->on one hand <-->while <-->at the same time protecting its own people , is a meaningful trait <-->in understanding the power <-->of this spirit .

-

<-->In Tenejapa , a Tseltal town , they traditionally make an offering <-->in an important lagoon named * Ts´ajalsul * to show * ich´el ta muk´ * . <-->In the ceremony authorities deposit a traditional handmade dress to the female being that is living <-->in water L <-->and is representing the lagoon itself who provides corn , <-->because she happens to be also the mother <-->of red corn . Red corn is now hard to find <-->in the Highlands <-->of Chiapas , it represents the strongest spirits <-->and connection <-->with ancestors <-->through woman´s blood . Some families are aware <-->of the high value <-->of these <-->and other varieties <-->of corn (fig.4) , <-->but diversity becomes a challenge <-->for this communities .

+

<-->In Tenejapa , a Tseltal town , they traditionally make an offering <-->in an important lagoon named * Ts´ajalsul * to show * ich´el ta muk´ * . <-->In the ceremony authorities deposit a traditional handmade dress to the female being that is living <-->in water L <-->and is representing the lagoon itself who provides corn , <-->because she happens to be also the mother <-->of red corn . Red corn is now hard to find <-->in the Highlands <-->of Chiapas , it represents the strongest spirits <-->and connection <-->with ancestors <-->through woman´s blood . Some families are aware <-->of the high value <-->of these <-->and other varieties <-->of corn (fig.4) maiz , <-->but diversity becomes a challenge <-->for this communities .

II -

<-->Despite these cultures that live <-->in a reciprocal cycle <-->with the land they inhabit , we have arrived to latent <-->and urgent conflicts surrounding food . <-->Since <-->in the 1950s , Mexican <-->and United States politicians started an alliance to increase productivity <-->of the most consumed cereals : wheat , corn , <-->and rice . Even <-->if the pioneers <-->of this project said so , this was not to fight off hunger , <-->because there was an inequality <-->in the availability <-->of food . That inequality is still growing . The 'green revolution ' began <-->as a movement <-->of engineers – George Harrar , Edwin J. Wellhausen , <-->and the Nobel Peace Prize winner Norman E. Borlaug . They worked together <-->in Sonora , Mexico <-->through the Office <-->of Special Studies which later was called the International Maize <-->and Wheat Improvement Center ( CIMMYT ) financed mainly <-->by the Rockefeller Foundation . They developed a biochemical 'technological package ' <-->for pest control that started affecting natural interdependence L <-->and agricultural cycles <-->by achieving full biocontrol <-->over the process . Most <-->of these substances were created <-->during the Second World War <-->as biological weapons to kill populations , such <-->as the Japanese , <-->through starvation <-->by the spraying <-->of fulminate herbicides . When the war was over , they needed to sell the products , <-->but theses herbicides were killing the traditional locally adapted seeds <-->so they worked <-->in two steps : First they collected a bank <-->of germplasm to study the varieties <-->of corn <-->in Mexico , <-->and second they chose <-->and separated only two varieties <-->of the approximately 64 types <-->and adapted them to the chemicals <-->above mentioned , producing a dependency <-->in the seed which could not grow <-->without pesticides . Then , <-->with a major commitment <-->of the governments <-->through credits <-->and funding , publicized this alleged progress <-->as a need <-->for peasants . They could then sell these 'packages ' to the farmers , who only realized their negative effects <-->after spoiling their soil <-->and water <-->with nitrates <-->and phosphates <-->among other toxic elements that produced soil erosion <-->and broke the biological equilibrium . Nowadays 'technological packages ' <-->in Mexico include hybrid seeds <-->of white <-->and yellow corn , chemical fertilizers , herbicides , <-->and pest controllers . All <-->of them come <-->with a negative impact <-->in health – proved this year <-->in the United States <-->by the court case <-->of Dewayne Johnson vs. Monsanto regarding Roundup Ready , a pesticide that contains glyphosate . 5 When a community loses their traditional seeds <-->[ highly adapted to their territories <-->through the work <-->of the generations <-->before ) <-->because <-->of a new hybrid , the damage is difficult to undo . <-->Once they want to go back to the organic ones they will need years <-->of adaptation , recovering the soil again that will <-->in consequence provoke a low production . An unbearable lost <-->for peasants . <-->In the nineties , genetic engineers modified the hybrid seeds <-->and created new ones <-->by mixing animal <-->and bacteria genes such <-->as bacterium <-->'Bacillus thuringiensis ' <-->into the cereal creating the BT transgenic corn , also dependent <-->on agrochemicals as well <-->as not fertile , which meant <-->that peasants needed to buy them anew each year . <-->As a result <-->of this process , today <-->in Mexico there are sequences <-->of transgenic contamination <-->of 90.4 % <-->in the whole production <-->of tortillas which are consumed <-->with every meal . <-->[ 6 There is a lot <-->of money invested <-->in the creation <-->of food that is low <-->in nutrients <-->but high <-->on private patents owned <-->by big corporations <-->like Bayer ( owner <-->of Monsanto ) , Pioneer-Dupont , Syngenta , DOW Agrosciences , <-->among others . This has created a scenario where the keepers <-->of ancestral seeds started to be treated <-->as criminals <-->because <-->of the pollination <-->of their harvest <-->from transgenic plants .

+

<-->Despite these cultures that live <-->in a reciprocal cycle <-->with the land they inhabit , we have arrived to latent <-->and urgent conflicts surrounding food . <-->Since <-->in the 1950s , Mexican <-->and United States politicians started an alliance to increase productivity <-->of the most consumed cereals : wheat , corn , <-->and rice . Even <-->if the pioneers <-->of this project said so , this was not to fight off hunger , <-->because there was an inequality <-->in the availability <-->of food . That inequality is still growing . The 'green revolution ' began <-->as a movement <-->of engineers – George Harrar , Edwin J. Wellhausen , <-->and the Nobel Peace Prize winner Norman E. Borlaug . They worked together <-->in Sonora , Mexico <-->through the Office <-->of Special Studies which later was called the International Maize <-->and Wheat Improvement Center ( CIMMYT ) financed mainly <-->by the Rockefeller Foundation . They developed a biochemical 'technological package ' <-->for pest control that started affecting natural interdependence L <-->and agricultural cycles <-->by achieving full biocontrol <-->over the process . Most <-->of these substances were created <-->during the Second World War <-->as biological weapons to kill populations , such <-->as the Japanese , <-->through starvation <-->by the spraying <-->of fulminate herbicides . When the war was over , they needed to sell the products , <-->but theses herbicides were killing the traditional locally adapted seeds <-->so they worked <-->in two steps : First they collected a bank <-->of germplasm to study the varieties <-->of corn <-->in Mexico , <-->and second they chose <-->and separated only two varieties <-->of the approximately 64 types <-->and adapted them to the chemicals <-->above mentioned , producing a dependency <-->in the seed which could not grow <-->without pesticides . Then , <-->with a major commitment <-->of the governments <-->through credits <-->and funding , publicized this alleged progress <-->as a need <-->for peasants . They could then sell these 'packages ' to the farmers , who only realized their negative effects <-->after spoiling their soil <-->and water <-->with nitrates <-->and phosphates <-->among other toxic elements that produced soil erosion <-->and broke the biological equilibrium . Nowadays 'technological packages ' <-->in Mexico include hybrid seeds <-->of white <-->and yellow corn , chemical fertilizers , herbicides , <-->and pest controllers . All <-->of them come <-->with a negative impact <-->in health – proved this year <-->in the United States <-->by the court case <-->of Dewayne Johnson vs. Monsanto regarding Roundup Ready , a pesticide that contains glyphosate . 5 When a community loses their traditional seeds <-->[ highly adapted to their territories <-->through the work <-->of the generations <-->before ) <-->because <-->of a new hybrid , the damage is difficult to undo . <-->Once they want to go back to the organic ones they will need years <-->of adaptation , recovering the soil again that will <-->in consequence provoke a low production . An unbearable lost <-->for peasants . <-->In the nineties , genetic engineers modified the hybrid seeds <-->and created new ones <-->by mixing animal <-->and bacteria genes such <-->as bacterium 'Bacillus thuringiensis ' <-->into the cereal creating the BT transgenic corn , also dependent <-->on agrochemicals as well <-->as not fertile , which meant <-->that peasants needed to buy them anew each year . <-->As a result <-->of this process , today <-->in Mexico there are sequences <-->of transgenic contamination <-->of 90.4 % <-->in the whole production <-->of tortillas which are consumed <-->with every meal . <-->[ 6 There is a lot <-->of money invested <-->in the creation <-->of food that is low <-->in nutrients <-->but high <-->on private patents owned <-->by big corporations <-->like Bayer ( owner <-->of Monsanto ) , Pioneer-Dupont , Syngenta , DOW Agrosciences , <-->among others . This has created a scenario where the keepers <-->of ancestral seeds started to be treated <-->as criminals <-->because <-->of the pollination <-->of their harvest <-->from transgenic plants .

biocycle @@ -56,7 +57,7 @@

This is a time <-->for creative collective praxis to protect life <-->and common goods ; humanity is living <-->through a serious historical process . Something people <-->in every country could do is to finding community solidarity <-->through the act <-->of conserving the biodiversity <-->of food . <-->For example , we can get <-->in touch <-->with the seed collectives which are taking <-->on a significant labor <-->by keeping germplasm banks to conserve seeds <-->in low temperature environments , <-->and , more importantly , growing the seeds <-->in the soil <-->and renewing each cycle . We could also be responsible <-->for <-->at least one seed´s survival , <-->in our rural soils we should research cultural production systems <-->as 'milpa ' to associate the plants – <-->in this case corn <-->and beans <-->among others – to have abundant <-->and various harvests . <-->In the urban areas walls , roofs , <-->or pots are great hosts to plants ; also schools <-->or parks . Reinforcing local exchange <-->of producers <-->and conscient consumers is also important . <-->By organizing time <-->around sustainable , organic , abundance <-->and sharing it <-->with children we are offering to the Earth <-->and humanity life , autonomy , <-->and richness . <-->In this way we make the noble effort to keep alive the rainbow seeds ( varieties <-->of food ) to give the future <-->as much colors <-->and flavors <-->as we have received <-->from earth <-->and our previous generations .

-

That is why taking myself serious is an act <-->of reciprocity , which means <-->that ( inter ) acting <-->from <-->within the power <-->of my heart is necessary <-->because <-->through my work <-->and my way <-->of living I am affecting others , known <-->and unknown . <-->As native people say it is <-->through the heart <-->that we can be aware <-->of the consequences <-->of our acts <-->in the territory we live <-->in <-->without ignoring other lands <-->and people . This is related <-->with developing fair economics <-->and politics that reduces inequality . It is important to highlight <-->that dealing <-->with the urgent problem <-->of ecocide means dealing <-->with the collateral disaster <-->of genocide – provoked <-->by that ecocide . Addressing such issues will demand <-->that we recognize , respect , <-->and embrace our cultural differences , belief systems , traditions , <-->and languages T M P ending any cultural supremacy <-->and dominance that requires the oppression <-->and starvation <-->of others O . Reciprocity is a relationship <-->with living nature : plants , territory , animals , <-->and cultures to which we have a lot to re-appropriate <-->and learn <-->from , <-->because feeding ourselves is a process where awareness , memory , <-->and re-learning are needed (fig.6) . The construction <-->of a good way <-->of living named * Lekil kuxlejal * ( full , dignified <-->and fair life ) <-->in Tseltal language is not only a product <-->of harmonic relations <-->with nature <-->and society , we can only get there <-->in a collective transformation process where both concepts <-->of reciprocity ATATA <-->and *ich´el ta muk'* are present <-->in both a local and/or global scale , <-->through political intimate acts <-->and 9 public transnational reciprocal agreements .

+

That is why taking myself serious is an act <-->of reciprocity , which means <-->that ( inter ) acting <-->from <-->within the power <-->of my heart is necessary <-->because <-->through my work <-->and my way <-->of living I am affecting others , known <-->and unknown . <-->As native people say it is <-->through the heart <-->that we can be aware <-->of the consequences <-->of our acts <-->in the territory we live <-->in <-->without ignoring other lands <-->and people . This is related <-->with developing fair economics <-->and politics that reduces inequality . It is important to highlight <-->that dealing <-->with the urgent problem <-->of ecocide means dealing <-->with the collateral disaster <-->of genocide – provoked <-->by that ecocide . Addressing such issues will demand <-->that we recognize , respect , <-->and embrace our cultural differences , belief systems , traditions , <-->and languages T M P ending any cultural supremacy <-->and dominance that requires the oppression <-->and starvation <-->of others O . Reciprocity is a relationship <-->with living nature : plants , territory , animals , <-->and cultures to which we have a lot to re-appropriate <-->and learn <-->from , <-->because feeding ourselves is a process where awareness , memory , <-->and re-learning are needed (fig.5) . The construction <-->of a good way <-->of living named * Lekil kuxlejal * ( full , dignified <-->and fair life ) <-->in Tseltal language is not only a product <-->of harmonic relations <-->with nature <-->and society , we can only get there <-->in a collective transformation process where both concepts <-->of reciprocity ATATA <-->and *ich´el ta muk'* are present <-->in both a local and/or global scale , <-->through political intimate acts <-->and 9 public transnational reciprocal agreements .

NO
BODY
@@ -79,7 +80,7 @@
Footnotes
-
+

  1. To Yaku.↩

  2. Pérez Moreno, María Patricia. O’tan - o’tanil. Corazón: una forma de ser - estar - hacer - sentir - pensar de los tseltaletik de Bachajón. Chiapas, México. FLACSO, Quito. 2014↩

    3. diff --git a/ATATA/text.css b/ATATA/text.css index 44b1a47..e6bfb9a 100644 --- a/ATATA/text.css +++ b/ATATA/text.css @@ -43,6 +43,7 @@ img { padding-top:15px; width:390px; object-fit: contain; + } body { @@ -79,11 +80,10 @@ a{ a.home{ position: fixed; - color:var(--blue); + color: black; background: white; cursor: pointer; z-index:1000; - mix-blend-mode: luminosity; border-radius: 20px; /* border: solid 0.5pt ; */ padding-right: 6px; @@ -113,7 +113,7 @@ a:hover { a.fig{ font-family: CrimsonR; text-decoration: none; - color: var(--blue); + color: black; } a.fig:visited{ @@ -123,7 +123,7 @@ a.fig:visited{ a.fig:hover { padding-top: 5px; color: white; - background: gold; + background: black; font-family: CrimsonR; } @@ -133,6 +133,8 @@ span.chapters { font-size: 20pt; } + + span.CC { position: relative; font-size: 8pt; @@ -183,18 +185,40 @@ span.reveal > .popCC { display: none; } +a.reveal > .popfig { + display: none; +} + +a.reveal > .popfig1 { + display: none; +} + +a.reveal > .popfig2 { + display: none; +} + +a.reveal > .popfig3 { + display: none; +} + +a.reveal > .popfig4 { + display: none; +} span.reveal.tada > span.popIN { display:inline; background-color: white; - width: 25px; + padding: 4px; + padding-top: 2px; + padding-bottom: 2px; + width: 200% contain; border: solid 1pt; color: var(--orange); text-align: center; border-radius: 3px; - padding: 4px 0; +/* padding: 4px 0; */ position: absolute; - z-index: 1; + z-index: 2; bottom: 110%; left: 10%; margin-left: -4px; @@ -203,19 +227,70 @@ span.reveal.tada > span.popIN { span.reveal.tada > span.popCC { display:inline; background-color: white; - width: 25px; + width: 200% contain; border: solid 1pt; color: var(--orange); text-align: center; border-radius: 3px; - padding: 4px 0; + padding: 4px; + padding-top: 2px; + padding-bottom: 2px; position: absolute; - z-index: 1; + z-index: 2; bottom: 110%; left: 10%; margin-left: -4px; } +a.reveal.tada > .popfig1 { + display:inline; + position: fixed; + top:250px; + left:890px; + z-index: 1; + width:20vw; +} + +a.reveal.tada > .popfig { + display:inline; + position: fixed; + top:400px; + left:350px; + z-index: 1; + width: 20vw; +} + +a.reveal.tada > .popfig2 { + display:inline; + padding-top: 0; + margin-top:0; + position: fixed; + top:1px; + left:1px; + z-index: -1; + width: 100%; +} + +a.reveal.tada > .popfig3 { + display:inline; + position: fixed; + top:400px; + left:750px; + z-index: 1; + width: 40vw; +} + +a.reveal.tada > .popfig4 { + display:inline; + padding-top: 0; + margin-top:0; + position: fixed; + top:1px; + left:20px; + z-index: 2; + width: 100%; +} + span.entrance { cursor: pointer !important; } @@ -253,8 +328,254 @@ span.entrance.tada > .intro { and (max-device-width: 667px) and (-webkit-min-device-pixel-ratio: 2) { body { - font-size: 50pt; + font-size: 3vw; column-count:1; + padding-left: 2vw; + padding-right: 4vw; } + span.intro { + padding-top: 0px; + font-family: iAWriteRegular; + font-size: 9.5vw; + line-height: 1; +} + + +span.quote { + font-family: CrimsonR; 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+} + +span.reveal.tada > span.popIN { + display:inline; + background-color: white; + padding: 4px; + margin-top: 2px; + margin-bottom: 2px; + margin-left: 2px; + margin-right: 2px; + width: 200% contain; + border: solid 1pt; + color: var(--orange); + text-align: center; + border-radius: 3px; +/* padding: 4px 0; */ + position: absolute; + z-index: 2; + bottom: 110%; + left: 10%; + margin-left: -4px; +} + +span.reveal.tada > span.popCC { + display:inline; + background-color: white; + width: 200% contain; + border: solid 1pt; + color: var(--orange); + text-align: center; + border-radius: 3px; + padding: 4px; + margin-top: 2px; + margin-bottom: 2px; + margin-left: 2px; + margin-right: 2px; + position: absolute; + z-index: 2; + bottom: 110%; + left: 10%; + margin-left: -4px; +} + +a.reveal.tada > .popfig1 { + display:inline; + position: fixed; + top:250px; + left:890px; + z-index: 1; + width:20vw; +} + +a.reveal.tada > .popfig { + display:inline; + position: fixed; + top:400px; + left:350px; + z-index: 1; + width: 20vw; +} + +a.reveal.tada > .popfig2 { + display:inline; + padding-top: 0; + margin-top:0; + position: fixed; + top:1px; + left:1px; + z-index: -1; + width: 100%; +} + +a.reveal.tada > .popfig3 { + display:inline; + position: fixed; + top:400px; + left:750px; + z-index: 1; + width: 40vw; +} + +a.reveal.tada > .popfig4 { + display:inline; + padding-top: 0; + margin-top:0; + position: fixed; + top:1px; + left:20px; + z-index: 2; + width: 100%; +} + +} } \ No newline at end of file diff --git a/ATATA/text_white.css b/ATATA/text_white.css index 973f477..a21e660 100644 --- a/ATATA/text_white.css +++ b/ATATA/text_white.css @@ -37,7 +37,7 @@ span.subtitle{ font-family: CrimsonR; - font-size: 13pt; + font-size: 13v; text-align: left; color:white; } @@ -59,6 +59,7 @@ body { column-count: 4; } + span.intro { margin-top:25px; font-family: CrimsonR; @@ -74,6 +75,22 @@ span.quote { color:white; } +span.popCC { + display:inline; + width: 200% contain; + color: var(--blue); + text-align: center; 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    diff --git a/HOPE/index.html b/HOPE/index.html index baa359b..c6052c1 100644 --- a/HOPE/index.html +++ b/HOPE/index.html @@ -3,7 +3,11 @@ + + + + HOPE -

    H
    O
    P
    E





    Original Contribution
    by Gurur ERTEM
    Reinpreted
    by Euna LEE

    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 it’s 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. It’s 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 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
    -

    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 it’s 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 it’s 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, it’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 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 it’s 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
    +

    H
    O
    P
    E





    Original Contribution
    by Gurur ERTEM
    Reinpreted
    by Euna LEE

    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 it’s 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. It’s 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 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
    +

    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 it’s 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 it’s 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 congruence¹⁷ with reality but their psychological causes. 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, it’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 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 it’s 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
    -Gurur Ertem +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. -Abstract of web project +Abstract of web project Fascinated by “recognition of pluralism”, one of the solutions to approach Hope, 👩🏻‍🔧 made this website where you can experience this solution. To Ertem’s voice, the XPUB students add their own voices and further, various anonymous x (maybe you, your neighbours or a dinosaur) participate in this digital journey. @@ -198,60 +237,60 @@ Zinn, Howard. 2014. “Optimism of Uncertainty.” In The Impossible Will Ta 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) +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) +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) +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/) +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. +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) +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/) +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. +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. +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. +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. +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. +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. +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. +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. +15. Ibid. -[16]: Aronson, Ronald. 2017. We: Reviving Social Hope. Chicago: Chicago University Press. +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. +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. +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.” +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.” +20. Smith, David Livingstone. 2016. “The Politics of Illusion: From Socrates and Psychoanalysis to Donald Trump.” -[21]: Freud, “The Future of Illusion” +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. +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/) +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. +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) +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. +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) +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) LIQUID - + + @@ -37,11 +54,11 @@ img[usemap] { - _ORIGINAL TEXT + _ORIGINAL TEXT _WOR(L)DS - _MANIFESTO + _MANIFESTO _ARTISTIC RESPONSE by Andrea Bozic and Julia Willms (TILT) - _INTERPRETATION + _INTERPRETATION
    diff --git a/LIQUID/liquid.png b/LIQUID/liquid.png deleted file mode 100644 index 6cc3771..0000000 Binary files a/LIQUID/liquid.png and /dev/null differ diff --git a/OTHERNESS/Publish.ipynb b/OTHERNESS/Publish.ipynb index abba339..714de32 100644 --- a/OTHERNESS/Publish.ipynb +++ b/OTHERNESS/Publish.ipynb @@ -2,7 +2,7 @@ "cells": [ { "cell_type": "code", - "execution_count": 32, + "execution_count": 66, "metadata": {}, "outputs": [ { @@ -28,7 +28,7 @@ }, { "cell_type": "code", - "execution_count": 56, + "execution_count": 67, "metadata": {}, "outputs": [ { @@ -47,7 +47,7 @@ }, { "cell_type": "code", - "execution_count": 28, + "execution_count": 68, "metadata": {}, "outputs": [ { @@ -66,7 +66,7 @@ }, { "cell_type": "code", - "execution_count": 55, + "execution_count": 70, "metadata": {}, "outputs": [ { diff --git a/OTHERNESS/index.html b/OTHERNESS/index.html index e96f545..7b1ff4e 100644 --- a/OTHERNESS/index.html +++ b/OTHERNESS/index.html @@ -14,7 +14,7 @@ -Otherness - Wor(l)ds          For The Future.
    See     the original Contribution or go to Text as a Map +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.

    @@ -45,7 +45,7 @@ Please, notice:
    Some of the original references to the people and places alo

    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.

    +

    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.
    @@ -55,10 +55,10 @@ Please, notice:
    Some of the original references to the people and places alo

    -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.’ +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? +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
    @@ -79,7 +79,7 @@ When I first encountered 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. +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.

    @@ -103,10 +103,10 @@ That our sense of onenessL, 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.
    +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. +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. @@ -117,7 +117,7 @@ Thoreau’s hut Walden stands still as light in the heart of the forest, a small

-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. +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. diff --git a/OTHERNESS/index.md b/OTHERNESS/index.md index 21d7fb8..4be36ba 100644 --- a/OTHERNESS/index.md +++ b/OTHERNESS/index.md @@ -42,7 +42,7 @@ When I first entered 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. +

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.

@@ -56,9 +56,9 @@ During my first day among the L. 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.’

+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?

+

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
@@ -84,7 +84,7 @@ All Pirahã people know the name of every single species of flora and fauna in t
-

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.

+

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.

@@ -113,9 +113,9 @@ Otherness is related to anything considered as stranger, referring both living c
-

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.
+

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.

+

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. @@ -129,7 +129,7 @@ Recording of a conversation between Pirahãs. The Pirahã can communicate throug
-

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.

+

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.

diff --git a/OTHERNESS/indexOG.html b/OTHERNESS/indexOG.html index c7f9df6..ca5a80b 100644 --- a/OTHERNESS/indexOG.html +++ b/OTHERNESS/indexOG.html @@ -46,7 +46,7 @@ Experience is the necessary transition to achieve the understanding of the alter 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.

+

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.
@@ -58,9 +58,9 @@ The Pirahã language challenges simplistic application of Hockett’s nearly uni
-

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.’

+

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/”manifesto.html>L. 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? +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
@@ -81,7 +81,7 @@ When I first encountered the Pirahãs, I learned the language by pointing and gi

-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. +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.

@@ -103,7 +103,7 @@ That our sense of onenessL, 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. +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. @@ -114,10 +114,10 @@ Otherness, as I see it, is the spark of original thought and greater appreciatio

-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. +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. +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 diff --git a/OTHERNESS/indexOG.md b/OTHERNESS/indexOG.md index 88c9370..6085a47 100644 --- a/OTHERNESS/indexOG.md +++ b/OTHERNESS/indexOG.md @@ -40,7 +40,7 @@ Those unlike ourselves may eat different food, be unintelligible to us when spea 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. +

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.

@@ -67,9 +67,9 @@ regular contact with Brazilians and the Tupi-Guarani-speaking Kawahiv. L. 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.’ +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?

+

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
@@ -95,7 +95,7 @@ All Pirahã people know the name of every single species of flora and fauna in t
-

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.

+

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.

@@ -127,7 +127,7 @@ Otherness is related to anything considered as stranger, referring both living c
-

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.

+

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. @@ -141,9 +141,9 @@ The Pirahã people can communicate through humming, singing and whistling inform
-

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.

+

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.

+

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 diff --git a/OTHERNESS/index_nouns.html b/OTHERNESS/index_nouns.html index a0587a6..1e7d5a4 100644 --- a/OTHERNESS/index_nouns.html +++ b/OTHERNESS/index_nouns.html @@ -19,7 +19,7 @@ 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

+

Otherness by Daniel L. Everett

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.’

diff --git a/OTHERNESS/index_nouns.md b/OTHERNESS/index_nouns.md index e339986..823cecb 100644 --- a/OTHERNESS/index_nouns.md +++ b/OTHERNESS/index_nouns.md @@ -6,7 +6,7 @@ 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 +Otherness by Daniel L. Everett 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. diff --git a/OTHERNESS/text.css b/OTHERNESS/text.css index 157add4..22a7b8b 100644 --- a/OTHERNESS/text.css +++ b/OTHERNESS/text.css @@ -139,6 +139,10 @@ input[type="language"] { font-size: 7pt; } +* { + scroll-behavior: smooth; +} + } diff --git a/OTHERNESS/text.nouns.css b/OTHERNESS/text.nouns.css index 590ec60..652ad3e 100644 --- a/OTHERNESS/text.nouns.css +++ b/OTHERNESS/text.nouns.css @@ -77,6 +77,10 @@ header, footer{ font-family: EBGaramond; } +* { + scroll-behavior: smooth; +} + } /*-- PRINT */ diff --git a/PRACTICAL_VISION/_old/blank.html b/PRACTICAL_VISION/_old/blank.html deleted file mode 100644 index b4ccc0d..0000000 --- a/PRACTICAL_VISION/_old/blank.html +++ /dev/null @@ -1,3 +0,0 @@ -

Sadness :(

- - go back \ No newline at end of file diff --git a/PRACTICAL_VISION/_old/index.html b/PRACTICAL_VISION/_old/index.html deleted file mode 100644 index 07cfc6b..0000000 --- a/PRACTICAL_VISION/_old/index.html +++ /dev/null @@ -1,166 +0,0 @@ - - - - - - - - - -

- - - - -
- - - -

Practical Vision

-

Jalada

-

very ugly,sad,boring v0.0.1

- -
-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 deleted file mode 100644 index fb1cbdf..0000000 --- a/PRACTICAL_VISION/_old/index.old.html +++ /dev/null @@ -1,88 +0,0 @@ - - - - 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. -
  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.
-
- - - - - - - - - - \ No newline at end of file diff --git a/PRACTICAL_VISION/_old/practical.txt b/PRACTICAL_VISION/_old/practical.txt deleted file mode 100644 index 97c0726..0000000 --- a/PRACTICAL_VISION/_old/practical.txt +++ /dev/null @@ -1,2 +0,0 @@ -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

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Jalada

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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 .
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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.

-

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.

-
- - -
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- - - - - - \ No newline at end of file diff --git a/PRACTICAL_VISION/_old2/index/index.html b/PRACTICAL_VISION/_old2/index/index.html deleted file mode 100644 index c258acf..0000000 --- a/PRACTICAL_VISION/_old2/index/index.html +++ /dev/null @@ -1,144 +0,0 @@ - - - - - - - - - - - - - - - - - - - -
- - - - - - -
- -
-

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.

- -

-
-
- - - - - - - - diff --git a/PRACTICAL_VISION/_old2/index/style.css b/PRACTICAL_VISION/_old2/index/style.css deleted file mode 100644 index 5f1609a..0000000 --- a/PRACTICAL_VISION/_old2/index/style.css +++ /dev/null @@ -1,236 +0,0 @@ -@font-face { - font-family: "CothamSans"; - src: url("../assets/fonts/CothamSans.otf"); -} - -:root{ - font-family:"CothamSans"; - --reg:4vw; - --tit:6vw; - --green:#00ff00; - --pink:#ff00d9; -} - -* { - box-sizing: border-box; -} - - - -html { - margin: 0; - scroll-behavior: smooth; -} - -body { - margin: 0; - width: 300%; - z-index: 1000; -} - - - -img{ - width: 15%; - position: absolute; -} - -#container{ - -} - - -#img1{ - animation: infinite cycle1 3s ; - margin-left: 50%; -} - -#img2{ - animation: infinite cycle2 3s ; - margin-left: 30%; - margin-top: 30% -} - -#img3{ - animation: infinite cycle3 3s ; - margin-top: 30%; - margin-left: 70% -} - - - - -p, a{ - font-size: var(--reg); -} - - - - -.texts{ - margin: 1.5%; -} - -.texts .left,.center,.right{ - float: left; 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} -} - -@keyframes cycle2 { - 0% { transform: rotate(1deg)} - 50% {transform: rotate(33deg)} - 100 {transform: rotate(1deg);} -} - -@keyframes cycle3 { - 0% { transform: rotate(185deg)} - 50% {transform: rotate(151deg)} - 100% {transform: rotate(185deg);} -} \ No newline at end of file diff --git a/PRACTICAL_VISION/_old2/script.js b/PRACTICAL_VISION/_old2/script.js deleted file mode 100644 index e69de29..0000000 diff --git a/PRACTICAL_VISION/_old2/stile.css b/PRACTICAL_VISION/_old2/stile.css deleted file mode 100644 index af4ed72..0000000 --- a/PRACTICAL_VISION/_old2/stile.css +++ /dev/null @@ -1,169 +0,0 @@ -:root{ - font-family: Arial, Helvetica, sans-serif; - --background-color: white; - --regular: 1.5vw -} - -body{ - margin: 0 ; - height: 100vh; - width: 100vw; - background-color: var(--background-color); - background-image: url('grid.png'); - background-size: 8vw; - overflow-y: hidden; -} - -header{ - z-index: 80; - position: absolute; - text-align: center; - transform: rotate(-13deg); 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- position: absolute; - bottom:1vw; - left:1vw; -} - -.container { - min-height: 100vh; - display: flex; - justify-content: center; - align-items: center; - - - } - -.contents{ - color: red; - overflow: scroll; - overflow-x: hidden; - z-index: 110; - background-color: white; - box-shadow: 1px 3px 90px 20px rgba(4, 14, 70, 0.76) ; - border: blue 0.5vw; - width: 70vw; - height: 70vh; - margin-left: 10vw; - padding: 2vw; - -} - -.contents p{ - text-align: justify; - text-justify: auto; -} - -.contents h1, h2{ - color: blue; -} - - -.legenda{ - columns: 2; - padding: 0.3vw; - z-index: 170; - border: black dashed 0.3vw; - width: 15%; - height: 15%; - - position:absolute; - bottom:1vw; - right:1vw; -} - - -ul{ - display: flex; - flex-flow: row wrap; - justify-content: space-around; - - padding: 0; - margin: 0; - -} - -li{ - padding: 0; - margin: 0; - display: flex; - font-size: 1vw; -/* align-content: stretch; */ - -} - -p{ - text-align: justify; - text-justify: auto; - color: #0000cd; -} - -#column{ - columns: 2; - column-gap: 35%; -} - -#title{ - height: 20vh; -} - - - -@keyframes cycle { - 0% { text-shadow: rgb(43, 98, 201) 10px 10px 20px;} - 20% {color: darkblue;} - 40% {text-shadow:darkblue 10px 10px 20px;} - 60% {text-shadow: rgb(43, 98, 201) 10px 10px 200px;} - 80% { color: rgba(227, 224, 240,0);} - 90% {display: none; visibility: hidden;} - } - diff --git a/PRACTICAL_VISION/index.html b/PRACTICAL_VISION/index.html index fb2cb6d..0a5358f 100644 --- a/PRACTICAL_VISION/index.html +++ b/PRACTICAL_VISION/index.html @@ -17,8 +17,8 @@
- - + +
@@ -133,7 +133,7 @@
-

Surprise! This is a bonus for you.

+

Here a focus of Practical Vision living in the hyperobject.
↓

diff --git a/PRACTICAL_VISION/printing/index.html b/PRACTICAL_VISION/printing/index.html index 0b5d1a3..3340e13 100644 --- a/PRACTICAL_VISION/printing/index.html +++ b/PRACTICAL_VISION/printing/index.html @@ -18,10 +18,10 @@
- - - - + + + +
@@ -52,14 +52,14 @@

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: 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 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 multipleL and alternative ways of imagining futures.

+ 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 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 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.

+ 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. @@ -71,7 +71,7 @@

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

+ 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 @@ -79,7 +79,7 @@ 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.

+

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, @@ -107,7 +107,7 @@ 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.

+

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 @@ -117,15 +117,15 @@ 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

+ 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.

+

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. + 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, + 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.

@@ -227,7 +227,7 @@

A practical Telegram BOT

-

@practical_vision_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
diff --git a/RESURGENCE/GLTFLoader/GLTFLoader.js b/RESURGENCE/GLTFLoader/GLTFLoader.js deleted file mode 100644 index fbfc574..0000000 --- a/RESURGENCE/GLTFLoader/GLTFLoader.js +++ /dev/null @@ -1,3768 +0,0 @@ -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 deleted file mode 100644 index ada8a82..0000000 --- a/RESURGENCE/RESURGENCE.txt +++ /dev/null @@ -1,55 +0,0 @@ -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 deleted file mode 100644 index 127a29b..0000000 --- a/RESURGENCE/Resurgence.html +++ /dev/null @@ -1,124 +0,0 @@ - - - - -Resurgence - - - - - - - - - - - - - - diff --git a/RESURGENCE/adventure.html b/RESURGENCE/adventure.html deleted file mode 100644 index e69de29..0000000 diff --git a/RESURGENCE/ascii.html b/RESURGENCE/ascii.html deleted file mode 100644 index 5343a72..0000000 --- a/RESURGENCE/ascii.html +++ /dev/null @@ -1,16 +0,0 @@ - - - - ascii magic - - - - - - - - - - - - \ No newline at end of file diff --git a/RESURGENCE/ascii.js b/RESURGENCE/ascii.js deleted file mode 100644 index 263e952..0000000 --- a/RESURGENCE/ascii.js +++ /dev/null @@ -1,105 +0,0 @@ -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 index ba11e00..61bad43 100644 --- a/RESURGENCE/body.css +++ b/RESURGENCE/body.css @@ -3,14 +3,14 @@ margin: 0; padding: 0; box-sizing: border-box; - transition: 1s; + transition: 0.5s; } ::-webkit-scrollbar { display: none; } -body { margin: 10px; background: red; font-family: Anka; color: #214c12; padding: 10px; max-width: 75ch; font-size: 1.5em; +body { margin: 10px; background: #181616;; font-family: Anka; color: #214c12; padding: 10px; max-width: 75ch; font-size: 1em; } @@ -57,7 +57,8 @@ z-index: 10; max-width: 30%; top: 50%; left: 50%; - transform: translate(-50%, -50%);} + transform: translate(-50%, -50%); +color:#242823;} /*button { width: 1%; @@ -126,21 +127,40 @@ scale: 160%; } .container { - width: 90%; + + max-height: 70%; background-color: #c9d2c1e3; background-color: gray; padding: 10px; border-radius: 5px; z-index: 10; color: #214c12; - position: relative; + position: fixed; + top: 45%; + left: 50%; + transform: translate(-50%, -50%); opacity: 1; padding: 1em; box-shadow: 0 0 40px #214c12; - - + overflow-y: scroll; + width: 60vw; } +.container:hover { + box-shadow: 0 0 60px #4eb32b; +} + +.marquee { + background: red; + white-space: nowrap; + -webkit-animation: rightThenLeft 4s linear; +} + +@-webkit-keyframes rightThenLeft { + 0% {margin-right:0;} + 50% {margin-right:100%;} + 100% {margin-right:0;} +} /*.container:hover{box-shadow: 0 0 10px black, 0 0 20px black, 0 0 30px yellowgreen;}*/ .container2 { @@ -160,6 +180,22 @@ scale: 160%; visibility: hidden; } +#text{max-width: 90ch; + top: 45%; + color:#242823; + +} + +#title{transform: rotate(90deg); +margin-top: 18vw; +margin-left: 3vw;} + +#title:hover{z-index: 100; +color: red; + +} + + .btn-grid { display: grid; grid-template-columns: repeat(2, auto); @@ -169,14 +205,16 @@ scale: 160%; } .btn { - background-color: gray; + background-color: black; border: rgba(255, 0, 0, 0); border-radius: 5px; padding: 5px 10px; - color:#214c12; + color: #d3ff00; outline: orange; z-index: 10; font-family: Anka; + margin-left: 3vw; + margin-right: 3vw; } .btn:hover { @@ -184,6 +222,7 @@ scale: 160%; background-color: darkgray; z-index: 10; box-shadow: 0 0 10px #214c12; + } #text{z-index: 10; @@ -192,8 +231,58 @@ color: #214c12;padding: 10px;} button{z-index:10; background-color: white;} p{z-index: 10; - + max-width: 85ch; + color: #214c12; + padding: 0px; + transition: all 0.5s ease-in-out; + +} + +p:hover{z-index: 20; + max-width: 85ch; color: #214c12; - padding: 10px; + padding: 0px; + transition: all 0.5s ease-in-out; + } + + +.header{ + position: relative; + +} + +.header:hover{ + position: relative; + z-index: 200; + color: red; + text-shadow: 0 0 2px black; +} + +#foot{ + color: black; + font-size: 0.5vw; +} + +a{ + color: blue; + font-size: 10pt; + cursor: pointer; + text-decoration: none; + color: white; +} + +a.home{ + + color: blue; + + mix-blend-mode: luminosity; + border-radius: 5px; +/* border: solid 0.5pt ; */ + padding-right: 6px; + padding-left: 6px; + padding-top: 1px; + padding-bottom: 1px; +/* mix-blend-mode: exclusion; */ +} \ No newline at end of file diff --git a/RESURGENCE/bot.html b/RESURGENCE/bot.html deleted file mode 100644 index 2cdf57a..0000000 --- a/RESURGENCE/bot.html +++ /dev/null @@ -1,32 +0,0 @@ - - - - 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 deleted file mode 100644 index 34f08f6..0000000 --- a/RESURGENCE/chatbot.ipynb +++ /dev/null @@ -1,133 +0,0 @@ -{ - "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/game.js b/RESURGENCE/game.js index 78a1fa1..3501e16 100644 --- a/RESURGENCE/game.js +++ b/RESURGENCE/game.js @@ -42,17 +42,17 @@ function selectOption(option) { 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?", + text: "🕹️Let's go on a walk. I am carrying a copy of 'Resurgence' by Isabelle Stengers and Ola Maciejewska with me, and I would like to read you some passages. We are meeting in our shared imaginary. Allow me to give you some keywords, so you can start imagining our surroundings: 💫earth, devastation, nature, magic.💫 We are going to build on this first fleeting vision and subconscious feeling you are experiencing now. If you need a moment to enter your imagination, take your time. When you are ready, open your eyes and keep reading. I'm glad you're joining me out here today. We are walking towards an active volcano, as the grounds around us start growing into a solid piece of land. It's loud and hot and kind of exciting to be here right now. 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 }, + text: "You are intrigued", + setState: { }, nextText: 2 }, { - text: "doubt the kind", - setState: { blueGoo: true, ally: false }, - nextText: 3 + text: "You want to explore the landscape", + setState: {}, + nextText: 5 }, ] @@ -60,131 +60,266 @@ const textNodes = [ { 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.', + text: "🕹️I'm also intrigued and somewhat confused. Does this statement imply that the people who were convicted and burned all those years ago were actual witches? I don't know how to feel about it. Not too far from where we are, some collapsed concrete pillars are sticking out of the rocky ground. Let's climb them and sit on the top as I read you a passage of the essay: 📄'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.'📄 Somehow my confusion still lingers. The motto seems to stem from a fictive book called 'The Witches of BlackBrook', in which three sisters escape the Salem witch trials by casting a magic spell. Considering that not everyone who was accused of witchcraft during the burning times and its witch trials might have actually been practising magic, I fear these references could discredit the horror and madness people experienced, being wrongly labelled and persecuted as witches. I am staring at the lava streaming out of the earth in front of us, feeling heated and conflicted.🕹️", options: [ { - text: 'Ask them what they are weaving.', - requiredState: (currentState) => currentState.blueGoo, - setState: { blueGoo: false, sword: true }, - nextText: 4 + text: 'Take a step away', + + setState: { }, + nextText: 3 }, { - text: "Keep on walking.", - requiredState: (currentState) => currentState.blueGoo, - setState: { blueGoo: false}, - nextText: 5 + text: "You are feeling a sense of sisterhood with the victims", + + setState: { }, + nextText: 12 } ] }, + { 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", + text: "🕹️You ask me to give you a moment. I don't know what you are thinking right now, but you have been staring at your hands for quite a while now. My mother once asked me: 'Do you know what the best tool is?', quickly followed by her answering her own question, while digging into the grounds of our garden ripping out weeds: 'Your hands.' You look at me and reach for my hand. I pull you up from off the ground and we walk away from the burning fires of the volcano towards industrial ruins. I am sensing that you are ready to hear the following passage: 📄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.📄 I take a breath, trying to lighten the pressure on my chest. It doesn't help. I am tired of hearing the constant argument replaying itself in my head about whether it is all hopeless, or if the only way to live is to endlessly battle this thought. To battle the feeling of being out of control.🕹️", options: [ { - text: 'You ring the bell, waiting for someone to let you in.', - nextText: 31 + text: 'You have been with the weavers before', + + setState: { }, + nextText: 6 }, { - text: 'Go right', - nextText: 32 - }, - { - text: 'Keep on walking straight forwards', - nextText: 33 + text: "You haven't been with the weavers before", + + setState: { }, + nextText: 16 } ] }, + { - id: 100, - text: 'You are getting more tired by the minute. Why were you here again?', + id: 4, + text: "🕹️I am now struggling to keep up with you, as you are walking through the forest, using the volcano as a landmark to follow. Suddenly you cannot go further, a fence is blocking the way, allowing me to finally catch up. We look up at the fence and I offer to push you up. You climb over the fence, pulling me up from the other side and now we are walking towards what looks like an overgrown amusement park. Moss and vines are tightly wrapped around the base of a ferris wheel. We climb into one of the compartments and sit down on the damp plastic. What a great moment to read you another passage, it's almost as if I brought you here for this reason:🕹️📄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.📄", options: [ { - text: 'Restart', - nextText: -1 + text: 'You feel dizzy from the speed of science and its insatiable urge for progress of the human species', + + setState: { }, + nextText: 3 + }, + { + text: "You crave rationality", + + setState: { }, + nextText: 7 } ] }, + { 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', + text: "🕹️We are climbing up the volcano, dodging the streams of lava all around us, until we finally make it to the top. It's pretty hot up here, but then again we are in our shared imaginary, so it is only as hot as you choose to imagine. Writing this, I realise it's quite hard to imagine heat. As the volcano purges another gleaming hot rain of lava, I read you this passage: 📄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📄 From up here you can see over the entire landscape. The volcano is surrounded by a dense pine tree forest. On the left end, you see a weird metal structure. On the right end, you see a large building.🕹️", options: [ { - text: 'Restart', - nextText: 51 + text: 'Go left', + + setState: { }, + nextText: 4 + }, + { + text: "Go right", + + setState: { }, + nextText: 7 } ] }, - { + { id: 6, - text: 'You awake in front of a well.', - options: [ + text: "🕹️You tell me that you've had enough, that none of the options I give you are ever enough. None of the options are choices of your own. I try to think of a reasoning to clear our coast, but nothing comes to mind. We walk away from each other, as you think of which path to choose, now that they are laid out in front of you. Suddenly you find a note in your pocket: 📄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.📄 Your journey ends here. Thank you for joining me. Take a moment to visualise our shared imaginary landscape, and start mapping it out on the main map.🕹️", + options: [ { - text: 'Nothing matters so you jump.', - nextText: 7 + text: 'Play Again.', + nextText: -1 } ] }, + { 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.', + text: "🕹️I follow you as you walk on a concrete road towards a large building. It has 'FACTS ONLY' engraved on top of a massive wooden door. You ring the bell but noone is opening. Defeated from walking aimlessly, you sink down onto the ground, as you can't help but feel lost out here. You look to your side, where I am sitting in a weird squat position. 'I'm lost too', I say to you. After some lengthy awkward silence between the two of us, I decide to pick the essay back up and read to you: 📄Getting rid of the Objectivity - Subjectivity banners. 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.📄 We accept that this journey is more complex than we expected and slowly get back up. I look at you and wonder what you see. How you see. How it would feel to experience the world as you. How impossible it would be to decide whether your or my eyes see the truth. Does human objectivity exist, or is it some kind of ideal we are chasing?🕹️", 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 are feeling restless', + + setState: { }, + nextText: 11 }, { - text: 'You calmy approach it, trying to pet his head', - requiredState: (currentState) => currentState.blueGoo, - nextText: 11 + text: "You want to stay around here for a while longer", + + setState: { }, + nextText: 8 } ] }, + { id: 8, - text: 'Your attempts to run are in vain and the monster easily catches.', + text: "🕹️An almost enjoyable silence is cut by a sudden screech. A white rat has attempted to climb up on your lap. You jump up and do a little dance to shake off the unwanted companion. Should we cross this line and let animals talk? I would say let's just go for it. So anyways, I pick up the rat, looking into its beady little eyes. 'Are you looking at me?', the rat asks. The silence is telling, and the rat continues: 'I could see once, now I'm blind as a mole. Go on, read your friend another passage!', the rat squeaks. I read:🕹️📄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.📄", options: [ { - text: 'Restart', - nextText: -1 + text: 'Chase the rat, which has run off into the courtyard', + + setState: { }, + nextText: 16 + }, + { + text: "Confront the scientists inside the building", + + setState: { }, + nextText: 9 } ] }, + { 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.', + text: "🕹️You seem focussed, as you walk up the steps of the academic institution in front of us. I am quite amazed, watching you bang against the wooden door of the building like Donkey Kong's aggressive uncle. Something seems to have gotten you heated. The frustration of coming across a locked door, perhaps? Don't be demoralised, please. Can you never just take a moment to enjoy being out here today with me? I grab your arm and pull you away from the entrance towards a bench. I unfold the essay and read:🕹️📄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.📄", options: [ { - text: 'Restart', - nextText: -1 + text: 'Keep on going', + + setState: { }, + nextText: 17 } + ] }, { id: 10, - text: 'The monster laughed as you hid behind your shield and ate you.', + text: "🕹️Not too far from us, you hear a loud discussion. A crowd of people have gathered in the courtyard of an academy building. Someone from inside the building has come out to talk. We step closer. It seems like they are arguing about the meaning of common sense. 'Don't you have common sense?', they scream from the building. I pull you aside and read you this passage: 📄Making common sense. 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.📄 Hm. Common sense can therefore never be a single man's opinion, but could there ever be something like common sense if we sense so differently from one another?🕹️", options: [ { - text: 'Restart', - nextText: -1 + text: 'Keep on going', + + setState: { }, + nextText: 11 } ] }, - { + { 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.', + text: "🕹️Did we dig too deep or not deep enough, I wonder. Is it enough? I tell you to wait for a moment, so I can be alone. When I think I've made it far enough, I scream along with the shaking earth. Clearly I was not far enough, I realise shortly after you approach me hesitantly, asking what my goddamn problem is. I look at you for a moment trying to put the force pressing against the inner walls of my heart into words, as an elderly woman approaches us. The lines on her face are profound, but somehow soft. 'There are times when you have to scream to be heard', she says, pointing at this passage of the essay I am somehow still holding in my hand:🕹️📄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 She 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.📄", options: [ { - text: 'Congratulations. Play Again.', + text: 'You have been to the forest', + + setState: { }, + nextText: 9 + }, + { + text: "You haven't been to the forest", + + setState: { }, + nextText: 12 + } + ] + }, + { + id: 12, + text: "🕹️We are walking around the foot of the volcano, searching for anything significant I could use as a bridge to another passage. Hm, strange. I swear I just heard something. You close your eyes and listen. There it was again! A humming sound coming from a nearby forest. We are following the rythmic humming, as our legs carry us faster and faster into the dense forest. All of the sudden, we arrive at a crossing. You lean against the bark of a pine tree, as I read you another passage: 📄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 a priori its rightful object, that is, anticipate the way a situation should be addressed.📄 It feels comforting to read about interdependence. I feel a sense of belonging, do you?🕹️", + options: [ + { + text: 'Go left, where the source of the humming seems to be', + + setState: { }, + nextText: 15 + }, + { + text: "Go right, where a weird growth of mushrooms is coming out of the roots of ancient pine trees", + + setState: { }, + nextText: 13 + } + ] + }, + + { + id: 13, + text: "🕹️You follow the path, stepping up the roots of a pine tree where wild Matsusake mushrooms are growing. As you take a closer look, I read you another passage:🕹️📄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.📄", + options: [ + { + text: 'You have enough of the forest and want to find some civilisation', + + setState: { }, + nextText: 7 + }, + { + text: "Eat the mushroom", + + setState: { }, + nextText: 14 + } + ] + }, + + { + id: 14, + text: "🕹️You eat the mushroom. I look at you and laugh. 'Are you gonna get one for me, too?', I ask. You don't really get why I can't just get my own, but for the sake of the story moving foward you pick another one and hand it to me. I start reading with my mouth full of mushroom:🕹️📄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 did matter. 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 symbionts 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.📄", + options: [ + { + text: 'Slowly make your way back to the volcano', + + setState: { }, + nextText: 4 + }, + { + text: "You had enough of me and want to talk to other people", + + setState: { }, + nextText: 10 + } + ] + }, + { + id: 15, + text: "🕹️As we are walking towards a clearance, a group of elderly women comes to greet us. They ask us to join their circle. We follow them into their home, where everything is covered in endless fabrics. One of the women is showing us around the different rooms, where we lay down on a beautiful rug, looking at the weathered stone ceiling. I open up the essay and starting reading to you: 📄We are the weavers and we are the woven. 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.📄 You close your eyes, thinking of all of the things you refuse to forget and carry with you. Conscious and subconscious threads woven into the very fabric of your being.🕹️", + options: [ + { + text: 'Listen to what the weaver has to say about this', + + setState: { }, + nextText: 11 + }, + { + text: "Go back outside", + + setState: { }, + nextText: 4 + } + ] + }, + + { + id: 16, + text: "🕹️I wrote you a story, but it lost its thread. We are now chasing white mice. I am losing a sense of purpose. Does it matter? Could we make a change, even if we found what we were looking for? You feel a bit out of place, as I become teary-eyed. 'What the hell is it with this one', you ask yourself. Our silence reveals a nearby dispute. As we make our way into the courtyard of the building, we witness a group of elderly women arguing with people from the inside of the institution. Before you make your way into their midst, I read you this passage:🕹️📄When the environmental, social and climate justice, multiracial Alliance of alliances, 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.📄", + options: [ + { + text: 'Keep on going', + + setState: { }, + nextText: 11 + } + ] + }, + + + { + id: 17, + text: "🕹️What difference does it make, her taking me all the way out here to read this essay?', you ask yourself. 'Wouldn't it have been easier to just read it by myself, in the order it was meant to be read in?' Maybe it would have been easier, but maybe something would have gone lost in the process. Sing with me: 📄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.📄 Your journey ends here. Thank you for joining me. Take a moment to visualise our shared imaginary landscape.🕹️", + options: [ + { + text: 'Play Again.', nextText: -1 } ] diff --git a/RESURGENCE/index.html b/RESURGENCE/index.html index aba27f8..e99945d 100644 --- a/RESURGENCE/index.html +++ b/RESURGENCE/index.html @@ -1,63 +1,50 @@ - - - - TEST - - - - - - - - - - - - - - -
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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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Wor(l)ds

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+ Resurgence + 🖨️ +

📄Original Contribution By Isabelle Stengers
+💫Original Artistic Response By Ola Macijewska
+🕹️Republished By Louisa Teichmann


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+ + + + + + \ No newline at end of file diff --git a/RESURGENCE/jsm/controls/TrackballControls.js b/RESURGENCE/jsm/controls/TrackballControls.js deleted file mode 100644 index 8a78402..0000000 --- a/RESURGENCE/jsm/controls/TrackballControls.js +++ /dev/null @@ -1,754 +0,0 @@ -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 deleted file mode 100644 index 0a40414..0000000 --- a/RESURGENCE/jsm/effects/AsciiEffect.js +++ /dev/null @@ -1,291 +0,0 @@ - -/** - * 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 deleted file mode 100644 index 0d372ba..0000000 --- a/RESURGENCE/jsm/libs/stats.module.js +++ /dev/null @@ -1,167 +0,0 @@ -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 deleted file mode 100644 index b8d22cf..0000000 --- a/RESURGENCE/main.js +++ /dev/null @@ -1,243 +0,0 @@ -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 ); 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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 deleted file mode 100644 index dc03d76..0000000 --- a/RESURGENCE/page0.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -RESURGENCE | Isabelle Stengers diff --git a/RESURGENCE/page1.html b/RESURGENCE/page1.html deleted file mode 100644 index ee6bdff..0000000 --- a/RESURGENCE/page1.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index bb82dde..0000000 --- a/RESURGENCE/page10.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 8615d01..0000000 --- a/RESURGENCE/page100.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index a6ebbf9..0000000 --- a/RESURGENCE/page101.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 782b882..0000000 --- a/RESURGENCE/page102.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 96efcae..0000000 --- a/RESURGENCE/page103.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -Such an option has no privileged ground . diff --git a/RESURGENCE/page104.html b/RESURGENCE/page104.html deleted file mode 100644 index c3273e5..0000000 --- a/RESURGENCE/page104.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 0cabc40..0000000 --- a/RESURGENCE/page105.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 34ca1e4..0000000 --- a/RESURGENCE/page106.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 752b299..0000000 --- a/RESURGENCE/page107.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 1b95eed..0000000 --- a/RESURGENCE/page108.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index db7d55a..0000000 --- a/RESURGENCE/page109.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index eed3a36..0000000 --- a/RESURGENCE/page11.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 31ed8ac..0000000 --- a/RESURGENCE/page110.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -Are the additions worthy or unworthy ? diff --git a/RESURGENCE/page111.html b/RESURGENCE/page111.html deleted file mode 100644 index e93d41f..0000000 --- a/RESURGENCE/page111.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 0aee1df..0000000 --- a/RESURGENCE/page112.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -Footnotes 1 . diff --git a/RESURGENCE/page113.html b/RESURGENCE/page113.html deleted file mode 100644 index 96c19bd..0000000 --- a/RESURGENCE/page113.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -Silvia Federici , [ i]Caliban and the Witch . diff --git a/RESURGENCE/page114.html b/RESURGENCE/page114.html deleted file mode 100644 index b501b46..0000000 --- a/RESURGENCE/page114.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -Women , the Body and Primitive Accumulation[i ] . diff --git a/RESURGENCE/page115.html b/RESURGENCE/page115.html deleted file mode 100644 index 49130c3..0000000 --- a/RESURGENCE/page115.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -Brooklyn , NY : Autonomedia , 2004 . diff --git a/RESURGENCE/page116.html b/RESURGENCE/page116.html deleted file mode 100644 index b2d37e8..0000000 --- a/RESURGENCE/page116.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -2 . diff --git a/RESURGENCE/page117.html b/RESURGENCE/page117.html deleted file mode 100644 index 2a555f8..0000000 --- a/RESURGENCE/page117.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -Rose , Hilary . diff --git a/RESURGENCE/page118.html b/RESURGENCE/page118.html deleted file mode 100644 index 04c2f32..0000000 --- a/RESURGENCE/page118.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -" My Enemys Enemy Is , Only Perhaps , My Friend . diff --git a/RESURGENCE/page119.html b/RESURGENCE/page119.html deleted file mode 100644 index 3773b5b..0000000 --- a/RESURGENCE/page119.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -" [ i]Social Text[i ] , no . diff --git a/RESURGENCE/page12.html b/RESURGENCE/page12.html deleted file mode 100644 index 7ec5007..0000000 --- a/RESURGENCE/page12.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 081340d..0000000 --- a/RESURGENCE/page120.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -45 ( 1996 ) : 61-80 . diff --git a/RESURGENCE/page121.html b/RESURGENCE/page121.html deleted file mode 100644 index 2619cf3..0000000 --- a/RESURGENCE/page121.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -doi:10.2307/466844 . diff --git a/RESURGENCE/page122.html b/RESURGENCE/page122.html deleted file mode 100644 index 4d62d6b..0000000 --- a/RESURGENCE/page122.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -3 . diff --git a/RESURGENCE/page123.html b/RESURGENCE/page123.html deleted file mode 100644 index 8e5ec40..0000000 --- a/RESURGENCE/page123.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -Gilbert , Scott F. , Jan Sapp , and Alfred I. Tauber . diff --git a/RESURGENCE/page124.html b/RESURGENCE/page124.html deleted file mode 100644 index 5105c75..0000000 --- a/RESURGENCE/page124.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -" A Symbiotic View of Life : We Have Never Been Individuals . diff --git a/RESURGENCE/page125.html b/RESURGENCE/page125.html deleted file mode 100644 index 9e1e6c0..0000000 --- a/RESURGENCE/page125.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -" [ i]The Quarterly Review of Biology[i ] 87 , no . diff --git a/RESURGENCE/page126.html b/RESURGENCE/page126.html deleted file mode 100644 index 34bf2e9..0000000 --- a/RESURGENCE/page126.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -4 ( 2012 ) : 325-41 . diff --git a/RESURGENCE/page127.html b/RESURGENCE/page127.html deleted file mode 100644 index 3e5c57d..0000000 --- a/RESURGENCE/page127.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -doi:10.1086/668166 . diff --git a/RESURGENCE/page128.html b/RESURGENCE/page128.html deleted file mode 100644 index 9eecdfc..0000000 --- a/RESURGENCE/page128.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -4 . diff --git a/RESURGENCE/page129.html b/RESURGENCE/page129.html deleted file mode 100644 index b09d947..0000000 --- a/RESURGENCE/page129.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -Doolittle , W. Ford , and Austin Booth . diff --git a/RESURGENCE/page13.html b/RESURGENCE/page13.html deleted file mode 100644 index 62a4005..0000000 --- a/RESURGENCE/page13.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index fd3e397..0000000 --- a/RESURGENCE/page130.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 1c8bb24..0000000 --- a/RESURGENCE/page131.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -" [ i]Biology & Philosophy[i ] 32 , no . diff --git a/RESURGENCE/page132.html b/RESURGENCE/page132.html deleted file mode 100644 index d13171e..0000000 --- a/RESURGENCE/page132.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -1 ( 2016 ) : 5-24 . diff --git a/RESURGENCE/page133.html b/RESURGENCE/page133.html deleted file mode 100644 index 2664c9b..0000000 --- a/RESURGENCE/page133.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -doi:10.1007/s10539-016-9542-2 . diff --git a/RESURGENCE/page134.html b/RESURGENCE/page134.html deleted file mode 100644 index 00b8e46..0000000 --- a/RESURGENCE/page134.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -5 . diff --git a/RESURGENCE/page135.html b/RESURGENCE/page135.html deleted file mode 100644 index e83c927..0000000 --- a/RESURGENCE/page135.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -Tsing , Anna Lowenhaupt . diff --git a/RESURGENCE/page136.html b/RESURGENCE/page136.html deleted file mode 100644 index 66a5d54..0000000 --- a/RESURGENCE/page136.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 00c218c..0000000 --- a/RESURGENCE/page137.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -Princeton , NJ : Princeton University Press , 2015 . diff --git a/RESURGENCE/page138.html b/RESURGENCE/page138.html deleted file mode 100644 index ce14b02..0000000 --- a/RESURGENCE/page138.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -6 . diff --git a/RESURGENCE/page139.html b/RESURGENCE/page139.html deleted file mode 100644 index 5eb1db4..0000000 --- a/RESURGENCE/page139.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -Starhawk . diff --git a/RESURGENCE/page14.html b/RESURGENCE/page14.html deleted file mode 100644 index 04b4c57..0000000 --- a/RESURGENCE/page14.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index af8f055..0000000 --- a/RESURGENCE/page140.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -[ i]Dreaming the Dark : Magic , Sex , and Politics[i ] . diff --git a/RESURGENCE/page141.html b/RESURGENCE/page141.html deleted file mode 100644 index ee4d29f..0000000 --- a/RESURGENCE/page141.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -Boston , MA : Beacon Press , 1997 . diff --git a/RESURGENCE/page142.html b/RESURGENCE/page142.html deleted file mode 100644 index d9e5bd0..0000000 --- a/RESURGENCE/page142.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -225 . diff --git a/RESURGENCE/page143.html b/RESURGENCE/page143.html deleted file mode 100644 index f13b903..0000000 --- a/RESURGENCE/page143.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -7 . diff --git a/RESURGENCE/page144.html b/RESURGENCE/page144.html deleted file mode 100644 index 05f5657..0000000 --- a/RESURGENCE/page144.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -“ It Takes Roots – An Alliance of Alliances . diff --git a/RESURGENCE/page145.html b/RESURGENCE/page145.html deleted file mode 100644 index 3e5e4fb..0000000 --- a/RESURGENCE/page145.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -" It Takes Roots . diff --git a/RESURGENCE/page146.html b/RESURGENCE/page146.html deleted file mode 100644 index d17e922..0000000 --- a/RESURGENCE/page146.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -http://ittakesroots.org/ . diff --git a/RESURGENCE/page147.html b/RESURGENCE/page147.html deleted file mode 100644 index 406f634..0000000 --- a/RESURGENCE/page147.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -8 . diff --git a/RESURGENCE/page148.html b/RESURGENCE/page148.html deleted file mode 100644 index 5f5a7cc..0000000 --- a/RESURGENCE/page148.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -Bollier , David . diff --git a/RESURGENCE/page149.html b/RESURGENCE/page149.html deleted file mode 100644 index 35f4998..0000000 --- a/RESURGENCE/page149.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 829bff7..0000000 --- a/RESURGENCE/page15.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -“ Creative destructions , ” economists croon . diff --git a/RESURGENCE/page150.html b/RESURGENCE/page150.html deleted file mode 100644 index 316b91b..0000000 --- a/RESURGENCE/page150.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -Gabriola Island , BC , Canada : New Society Publishers , 2014 . diff --git a/RESURGENCE/page151.html b/RESURGENCE/page151.html deleted file mode 100644 index 3ec11de..0000000 --- a/RESURGENCE/page151.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -9 . diff --git a/RESURGENCE/page152.html b/RESURGENCE/page152.html deleted file mode 100644 index dc73066..0000000 --- a/RESURGENCE/page152.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -William , James . diff --git a/RESURGENCE/page153.html b/RESURGENCE/page153.html deleted file mode 100644 index f1175dd..0000000 --- a/RESURGENCE/page153.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index ad9b2d5..0000000 --- a/RESURGENCE/page154.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -New York , NY : Longman Green and Co . diff --git a/RESURGENCE/page155.html b/RESURGENCE/page155.html deleted file mode 100644 index 218a94f..0000000 --- a/RESURGENCE/page155.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -, 1907 . diff --git a/RESURGENCE/page156.html b/RESURGENCE/page156.html deleted file mode 100644 index 5fe4a93..0000000 --- a/RESURGENCE/page156.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -98 . diff --git a/RESURGENCE/page16.html b/RESURGENCE/page16.html deleted file mode 100644 index 00a5a26..0000000 --- a/RESURGENCE/page16.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 99055b5..0000000 --- a/RESURGENCE/page17.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -Worlds are destroyed and no such destruction is ever deserved . diff --git a/RESURGENCE/page18.html b/RESURGENCE/page18.html deleted file mode 100644 index 2758b22..0000000 --- a/RESURGENCE/page18.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index a1237f3..0000000 --- a/RESURGENCE/page19.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 4999f89..0000000 --- a/RESURGENCE/page2.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 5925c62..0000000 --- a/RESURGENCE/page20.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index c65d4b8..0000000 --- a/RESURGENCE/page21.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index d0b107e..0000000 --- a/RESURGENCE/page22.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 9d855aa..0000000 --- a/RESURGENCE/page23.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 857e480..0000000 --- a/RESURGENCE/page24.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 50f1ce0..0000000 --- a/RESURGENCE/page25.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index c0c8088..0000000 --- a/RESURGENCE/page26.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index e0b4955..0000000 --- a/RESURGENCE/page27.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index e6cc49e..0000000 --- a/RESURGENCE/page28.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -Certainly it cannot be a question of resurrecting the past . diff --git a/RESURGENCE/page29.html b/RESURGENCE/page29.html deleted file mode 100644 index 85e0998..0000000 --- a/RESURGENCE/page29.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 5767fec..0000000 --- a/RESURGENCE/page3.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 2aa2c18..0000000 --- a/RESURGENCE/page30.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 65d98cc..0000000 --- a/RESURGENCE/page31.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -[ b]Getting rid of the Objectivity – Subjectivity banners[b ] diff --git a/RESURGENCE/page32.html b/RESURGENCE/page32.html deleted file mode 100644 index 58cc5c2..0000000 --- a/RESURGENCE/page32.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 5a3534c..0000000 --- a/RESURGENCE/page33.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index f808ea0..0000000 --- a/RESURGENCE/page34.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 8913766..0000000 --- a/RESURGENCE/page35.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 4faa9e6..0000000 --- a/RESURGENCE/page36.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index f725b37..0000000 --- a/RESURGENCE/page37.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -That objectivity is a mobilizing banner is easy to demonstrate . diff --git a/RESURGENCE/page38.html b/RESURGENCE/page38.html deleted file mode 100644 index bb68f59..0000000 --- a/RESURGENCE/page38.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index c4ec85b..0000000 --- a/RESURGENCE/page39.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -An experimental ‘ objective ’ fact is always extracted by active questioning . diff --git a/RESURGENCE/page4.html b/RESURGENCE/page4.html deleted file mode 100644 index 1f22982..0000000 --- a/RESURGENCE/page4.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index cac8ed7..0000000 --- a/RESURGENCE/page40.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 277fd35..0000000 --- a/RESURGENCE/page41.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 7b1d687..0000000 --- a/RESURGENCE/page42.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index d1b3577..0000000 --- a/RESURGENCE/page43.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 24be2fc..0000000 --- a/RESURGENCE/page44.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 6f87bea..0000000 --- a/RESURGENCE/page45.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index b9d01c8..0000000 --- a/RESURGENCE/page46.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 6fb2a78..0000000 --- a/RESURGENCE/page47.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index dec85c2..0000000 --- a/RESURGENCE/page48.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 7794dd6..0000000 --- a/RESURGENCE/page49.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 2d902f8..0000000 --- a/RESURGENCE/page5.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 49329e4..0000000 --- a/RESURGENCE/page50.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 1917e7d..0000000 --- a/RESURGENCE/page51.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 6085494..0000000 --- a/RESURGENCE/page52.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 14d1f35..0000000 --- a/RESURGENCE/page53.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 14a3ba6..0000000 --- a/RESURGENCE/page54.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 6e8adea..0000000 --- a/RESURGENCE/page55.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index c1fd8cf..0000000 --- a/RESURGENCE/page56.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -This requirement is a practical one . diff --git a/RESURGENCE/page57.html b/RESURGENCE/page57.html deleted file mode 100644 index 377a3fc..0000000 --- a/RESURGENCE/page57.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 7a51514..0000000 --- a/RESURGENCE/page58.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 2c92e7e..0000000 --- a/RESURGENCE/page59.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index ddbdc3d..0000000 --- a/RESURGENCE/page6.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 9396f56..0000000 --- a/RESURGENCE/page60.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 2f28b46..0000000 --- a/RESURGENCE/page61.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index b053c55..0000000 --- a/RESURGENCE/page62.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 06734ca..0000000 --- a/RESURGENCE/page63.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index a92b746..0000000 --- a/RESURGENCE/page64.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 6affd14..0000000 --- a/RESURGENCE/page65.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index ab4a736..0000000 --- a/RESURGENCE/page66.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 4e528f1..0000000 --- a/RESURGENCE/page67.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -But refusing to participate is also playing a role . diff --git a/RESURGENCE/page68.html b/RESURGENCE/page68.html deleted file mode 100644 index 9cf63da..0000000 --- a/RESURGENCE/page68.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index b132c99..0000000 --- a/RESURGENCE/page69.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 7177f45..0000000 --- a/RESURGENCE/page7.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index c73a79f..0000000 --- a/RESURGENCE/page70.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 6f5ac33..0000000 --- a/RESURGENCE/page71.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -[ b]Polyphonic song[b ] diff --git a/RESURGENCE/page72.html b/RESURGENCE/page72.html deleted file mode 100644 index 5a57640..0000000 --- a/RESURGENCE/page72.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 90b103f..0000000 --- a/RESURGENCE/page73.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 4eb3480..0000000 --- a/RESURGENCE/page74.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 85db889..0000000 --- a/RESURGENCE/page75.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index ea777c2..0000000 --- a/RESURGENCE/page76.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index bbd8053..0000000 --- a/RESURGENCE/page77.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index c4fbfab..0000000 --- a/RESURGENCE/page78.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 4f580ab..0000000 --- a/RESURGENCE/page79.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 79358a2..0000000 --- a/RESURGENCE/page8.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 5a70468..0000000 --- a/RESURGENCE/page80.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index a46bafc..0000000 --- a/RESURGENCE/page81.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 46852d1..0000000 --- a/RESURGENCE/page82.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index e3595c0..0000000 --- a/RESURGENCE/page83.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 064212b..0000000 --- a/RESURGENCE/page84.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 14b8ca7..0000000 --- a/RESURGENCE/page85.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 43228fb..0000000 --- a/RESURGENCE/page86.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 9f35bab..0000000 --- a/RESURGENCE/page87.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 898c7dd..0000000 --- a/RESURGENCE/page88.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -As for Tsing , she is not relying on overbearing ideas . diff --git a/RESURGENCE/page89.html b/RESURGENCE/page89.html deleted file mode 100644 index 597a2ff..0000000 --- a/RESURGENCE/page89.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 5d4f200..0000000 --- a/RESURGENCE/page9.html +++ /dev/null @@ -1,2 +0,0 @@ - here is your fate: -’ diff --git a/RESURGENCE/page90.html b/RESURGENCE/page90.html deleted file mode 100644 index c41f3b7..0000000 --- a/RESURGENCE/page90.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index f03d598..0000000 --- a/RESURGENCE/page91.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 04d353b..0000000 --- a/RESURGENCE/page92.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 767c8b5..0000000 --- a/RESURGENCE/page93.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 6ba8d73..0000000 --- a/RESURGENCE/page94.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 149ecea..0000000 --- a/RESURGENCE/page95.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 7109f3c..0000000 --- a/RESURGENCE/page96.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 7354330..0000000 --- a/RESURGENCE/page97.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 705a7b6..0000000 --- a/RESURGENCE/page98.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index 2105b88..0000000 --- a/RESURGENCE/page99.html +++ /dev/null @@ -1,2 +0,0 @@ - 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 deleted file mode 100644 index f86664d..0000000 --- a/RESURGENCE/pattern-search.ipynb +++ /dev/null @@ -1,1229 +0,0 @@ -{ - "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 deleted file mode 100644 index ee674ad..0000000 --- a/RESURGENCE/patterns-generating.ipynb +++ /dev/null @@ -1,1122 +0,0 @@ -{ - "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 deleted file mode 100644 index 4d3d42c..0000000 --- a/RESURGENCE/patterns-searching-for.ipynb +++ /dev/null @@ -1,1580 +0,0 @@ -{ - "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 deleted file mode 100644 index d3bdd2b..0000000 Binary files a/RESURGENCE/resources/negx.jpg and /dev/null differ diff --git a/RESURGENCE/resources/negy.jpg b/RESURGENCE/resources/negy.jpg deleted file mode 100644 index 319c966..0000000 Binary files a/RESURGENCE/resources/negy.jpg and /dev/null differ diff --git a/RESURGENCE/resources/negz.jpg b/RESURGENCE/resources/negz.jpg deleted file mode 100644 index 85b6dd2..0000000 Binary files a/RESURGENCE/resources/negz.jpg and /dev/null differ diff --git a/RESURGENCE/resources/posx.jpg b/RESURGENCE/resources/posx.jpg deleted file mode 100644 index 0e96b5c..0000000 Binary files a/RESURGENCE/resources/posx.jpg and /dev/null differ diff --git a/RESURGENCE/resources/posy.jpg b/RESURGENCE/resources/posy.jpg deleted file mode 100644 index f4d5975..0000000 Binary files a/RESURGENCE/resources/posy.jpg and /dev/null differ diff --git a/RESURGENCE/resources/posz.jpg b/RESURGENCE/resources/posz.jpg deleted file mode 100644 index 1bff1d0..0000000 Binary files a/RESURGENCE/resources/posz.jpg and /dev/null differ diff --git a/RESURGENCE/rock2.png b/RESURGENCE/rock2.png deleted file mode 100644 index 98dc106..0000000 Binary files a/RESURGENCE/rock2.png and /dev/null differ diff --git a/RESURGENCE/style.css b/RESURGENCE/style.css deleted file mode 100644 index 9083354..0000000 --- a/RESURGENCE/style.css +++ /dev/null @@ -1,241 +0,0 @@ - -*{ - margin: 0; - padding: 0; - box-sizing: border-box; - transition: 1s; -} - - - -body { margin: 5em; background: black; font-family: Georgia; color: pink; overflow: scroll; - - -} -.new{} - - -@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; - -} - - -#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 deleted file mode 100644 index 78fb497..0000000 --- a/RESURGENCE/textadventuretry.ipynb +++ /dev/null @@ -1,172 +0,0 @@ -{ - "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 deleted file mode 100644 index 6dcf5e0..0000000 Binary files a/RESURGENCE/try/fonts/AnkaCoder-b.ttf and /dev/null differ diff --git a/RESURGENCE/try/index.html b/RESURGENCE/try/index.html deleted file mode 100644 index f33e764..0000000 --- a/RESURGENCE/try/index.html +++ /dev/null @@ -1,58 +0,0 @@ - - - - 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. ↨

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[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.

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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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[b]We are the weavers and we are the woven[b]

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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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line-height: 90%; } h5 { @@ -225,7 +421,7 @@ z-index: 9; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } p2{ padding-left: 3mm; @@ -248,7 +444,7 @@ z-index: 9; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } p3 { content: "\a"; @@ -270,7 +466,7 @@ z-index: 1000; background-color: transparent; box-shadow: 0 1px 5px 0px rgba(0, 0, 0, 0.5), 0 0 30px 0px rgba(0, 0, 0, 0.2), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 0.8); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } p4 { @@ -298,7 +494,7 @@ z-index: 1000; background-color: transparent; box-shadow: 0 1px 5px 0px rgba(0, 0, 0, 0.5), 0 0 30px 0px rgba(0, 0, 0, 0.2), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 0.8); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } p5 { display: block; @@ -321,7 +517,7 @@ display: inline-block; z-index: 1000; background-color: transparent; - box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); transition: all 300ms ease-in-out; + box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); transition: all 100ms ease-in-out; } not{ font-size: 8pt; @@ -396,7 +592,7 @@ z-index: 9; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } boxfootnotes { padding-left: 3mm; @@ -417,7 +613,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 5px 0px rgba(0, 0, 0, 0.5), 0 0 30px 0px rgba(0, 0, 0, 0.7), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } boxlink{ padding-left: 1mm; @@ -437,7 +633,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 5px 0px rgba(0, 0, 0, 0.5), 0 0 30px 0px rgba(0, 0, 0, 0.7), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } a{ @@ -479,7 +675,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } ident { text-indent: 10mm; @@ -503,7 +699,7 @@ display: inline-block; z-index: 9; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } box { padding-left: 3mm; @@ -523,7 +719,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } section { @@ -547,7 +743,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } sectionimg { display: block; @@ -573,7 +769,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } sectionvertical { display: block; @@ -598,7 +794,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } h7vertical { @@ -637,7 +833,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } br { display: none; @@ -727,6 +923,18 @@ @font-face { font-family: 'EBGaramonditalic'; src: url('EBGaramond-Italic.ttf'); +} + @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'); } logo { position: fixed; @@ -735,15 +943,10 @@ z-index: 1000; } body{ - - /*margin-top: 10vw; - margin-bottom: 10vw; - margin-left: 20vw; - margin-right: 20vw;*/ - margin-top: 70px; - margin-bottom: 30px; - margin-left: 30px; - margin-right: 30px; + margin-top: 6%; + margin-bottom: 6%; + margin-left: 1%; + margin-right: 1%; columns: 2 auto; /*background: white;*/ background: rgb(233,233,233); @@ -754,7 +957,6 @@ position: absolute; } h1 { - /*color: #353535;*/ color: black; font-family: helvetica; text-align: center; @@ -766,15 +968,15 @@ position: fixed; } h2 { - padding-left: 20px; - padding-right: 20px; - padding-bottom: 20px; - padding-top: 20px; + padding-left: 3%; + padding-right: 3%; + padding-bottom: 3%; + padding-top: 3%; /*color: #353535;*/ color: black; font-family: helvetica; font-weight: 500; - font-size: 24px; + font-size: 20px; margin-left: 50px; line-height: 120%; text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); @@ -784,23 +986,25 @@ z-index: 9; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } h2:hover { color: black; + z-index: 3000; background-color: #CCCCCC; + mix-blend-mode: hard-light; } - h3 { - padding-left: 20px; - padding-right: 20px; - padding-bottom: 50px; - padding-top: 50px; + h3 { + padding-left: 3%; + padding-right: 3%; + padding-bottom: 7%; + padding-top: 7%; color: black; font-style: italic; text-align: center; font-family: times new roman; font-weight: lighter; - font-size: 24px; + font-size: 20px; line-height: 120%; text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); border-radius: 15px 15px 15px 15px; @@ -808,25 +1012,24 @@ z-index: 9; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; - + transition: all 100ms ease-in-out; } h3:hover { color: black; background-color: #CCCCCC; + mix-blend-mode: hard-light; } h4 { - /*color: #353535;*/ color: black; font-family: helvetica; - font-size: 24px; + font-size: 20px; line-height: 90%; } h5 { color: #EDEDED; font-family: helvetica; font-size: 120pt; - font-size: 24px; + font-size: 20px; text-justify: none; bottom: 0; position: fixed; @@ -837,12 +1040,12 @@ h6 { color: transparent; font-family: helvetica; - font-size: 24px; + font-size: 20px; bottom: 0; left: 0; position: fixed; display: inline-block; - text-shadow: 20px 20px 20px; + text-shadow: 3% 20px 20px; stroke: 1px; z-index:98; } @@ -850,7 +1053,7 @@ opacity: 1; font-family: helvetica; font-weight: 500; - font-size: 24px; + font-size: 20px; margin-left: 0px; line-height: 110%; color: #FFF200; @@ -860,9 +1063,9 @@ opacity: 1; font-family: helvetica; font-weight: 500; - text-indent: 24px; + text-indent: 20px; margin-left: 0px; - font-size: 24px; + font-size: 20px; text-align: center; line-height: 110%; color: #FFF200; @@ -872,7 +1075,7 @@ opacity: 1; font-family: helvetica; font-weight: 500; - font-size: 24px; + font-size: 20px; text-align: center; margin-left: 0px; z-index: 1000; @@ -880,70 +1083,76 @@ color: #FFF200; text-shadow: -1px 0 black, 0 1px black, 1px 0 black, 0 -1px black;/*, 0px 0px 19px rgba(255, 255, 255, 1)*/ } - p{ - padding-left: 20px; - padding-right: 20px; - padding-bottom: 50px; - padding-top: 50px; - font-size: 24px; + p { + padding-left: 3%; + padding-right: 3%; + padding-bottom: 7%; + padding-top: 7%; + font-size: 20px; text-indent: 50px; line-height: 120%; text-align: left; font-weight: normal; + margin-top: 3%; + margin-bottom: 0%; font-family: helvetica; - /*color: #353535;*/ + display: inline-block; color: black; - z-index: 250; /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ /*text-shadow: 0px 1px 16px rgba(0, 0, 0, 0.35);*/ border-radius: 15px 15px 15px 15px; display: inline-block; - z-index: 9; + z-index: 0; background-color: transparent; - box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); transition: all 500ms ease-in-out; + box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); + transition: all 500ms ease-in-out; } p:hover { color: black; - background-color: #CCCCCC; + background-color: #CCCCCC; + z-index: 300; + mix-blend-mode: hard-light; } - p2{ - padding-left: 20px; - padding-right: 20px; - padding-bottom: 50px; - padding-top: 50px; - font-size: 24px; + p2 { + padding-left: 3%; + padding-right: 3%; + padding-bottom: 7%; + padding-top: 7%; + font-size: 20px; line-height: 120%; font-weight: normal; + margin-top: 3%; text-align: left; font-family: helvetica; - mix-blend-mode: hard-light; - /*color: #353535;*/ + display: inline-block; color: black; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ /*text-shadow: 0px 1px 16px rgba(0, 0, 0, 0.35);*/ border-radius: 15px 15px 15px 15px; - display: inline-block; - z-index: 9; + z-index: 0; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } p2:hover { color: black; - background-color: #CCCCCC; + background-color: #CCCCCC; + z-index: 300; + mix-blend-mode: hard-light; + } p3 { padding-left: 20px; padding-right: 20px; padding-bottom: 10px; padding-top: 10px; - margin-top: 10px; - margin-top: 10px; + margin-top: 2%; + margin-bottom: 2%; color: black; text-align: center; font-family: 'EBGaramondmediumitalic'; - font-size: 24px; + font-size: 20px; line-height: 120%; /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ border-radius: 15px 15px 15px 15px; @@ -951,24 +1160,28 @@ z-index: 10; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } p3:hover { color: black; background-color: #CCCCCC; z-index: 300; + mix-blend-mode: hard-light; + } p5 { - padding-left: 20px; - padding-right: 20px; - padding-bottom: 10px; - padding-top: 10px; - margin-top: 10px; - margin-top: 10px; + padding-left: 1%; + padding-right: 1%; + padding-bottom: 2%; + padding-top: 2%; + margin-top: 2%; + margin-bottom: 2%; + margin-left: 2%; + margin-right: 2%; color: black; text-align: center; font-family: 'EBGaramondmediumitalic'; - font-size: 24px; + font-size: 20px; line-height: 120%; /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ border-radius: 15px 15px 15px 15px; @@ -976,16 +1189,16 @@ z-index: 9; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } p4 { display:none; } symbol { font-family: 'WFTF'; - font-size: 24px; - margin-left: 10px; - margin-right: 10px; + font-size: 20px; + margin-left: 2%; + margin-right: 2%; } symbol:hover { font-family: 'WFTF'; @@ -998,28 +1211,27 @@ font-family: helvetica; color: black; z-index: 400; - /*text-shadow: 0px 1px 16px rgba(0, 0, 0, 0.35);*/ } span { color: black; -} - .square { - padding-left: 10px; - padding-right: 10px; - padding-bottom: 90%; - padding-top: 10px; - height: auto; - width: 90%; +} + .square { + padding-left: 1%; + padding-right: 1%; + padding-bottom: 1%; + padding-top: 1%; position: relative; font-family: helvetica; - font-size: 24px; + font-size: 20px; + width: 80%; + height: 40%; margin-left: 0px; margin-right: 0px; - margin-top: 0px; - margin-bottom: 0px; + margin-top: 3%; /*background-color: #CCCCCC;*/ - background-color: black; + background-color: transparent; + border-radius: 2% 2% 2% 2%; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); z-index: 100; filter: blur(0.2px); @@ -1028,14 +1240,29 @@ .square:after { content: ""; display: block; + padding-top: 50%; + padding-right: 50%; z-index: 100; - width: 90%; - height: auto; + border-radius: 2% 2% 2% 2%; } .square:hover { color: black; background-color: #CCCCCC; z-index: 300; + mix-blend-mode: hard-light; +} + .content { + position: relative; + text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + /*color: #353535;*/ + color: black; + border-radius: 6% 6% 6% 6%; + width: 100%; + margin-top: 1%; + font-family: helvetica; + font-size: 20px; + height: 100%; + z-index: 100; } img { max-width: 90%; @@ -1051,91 +1278,79 @@ height: auto; background-color: grey; font-family: helvetica; - font-size: 24px; - z-index: 100; -} - - .portrait { - position: relative; - width: 50%; - height: 50%; - margin-left: 20px; - margin-right: 20px; - margin-top: 20px; - margin-bottom: 20px; - /*background-color: #CCCCCC;*/ - background: rgb(214,214,214); - background: radial-gradient(circle, rgba(214,214,214,1) 0%, rgba(221,221,221,1) 100%); - box-shadow: 0px 0px 12px 11px rgba(0,0,0,0.25); - z-index: 100; - filter: blur(1px); - -webkit-filter: blur(1px); -} - - .portrait:after { - content: ""; - display: block; - padding-bottom: 120%; + font-size: 20px; z-index: 100; } footnotes { color: #353535; font-family: helvetica; font-weight: 900; - font-size: 24px; + font-size: 20px; + border-radius: 15px 15px 15px 15px; + font-family: helvetica; + display: inline-block; + z-index: 9; + background-color: transparent; + box-shadow: 0 1px 10px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); + transition: all 100ms ease-in-out; +} + + footnotes { + color: #353535; + font-family: helvetica; + font-weight: 900; + font-size: 20px; border-radius: 15px 15px 15px 15px; font-family: helvetica; display: inline-block; z-index: 9; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } boxfootnotes { - padding-left: 5px; - text-indent: 0px; - padding-right: 5px; - padding-bottom: 0px; + white-space: nowrap; + padding-left: 2%; + text-indent: 0%; + padding-right: 2%; + padding-bottom: 0%; padding-top: 0px; text-align: right; color: black; font-weight: 500; - font-size: 24px; - line-height: 100%; + font-size: 20px; + line-height: 120%; font-family: helvetica; z-index: 300; position: relative; text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); border-radius: 10px 10px 10px 10px; - display: inline-block; background-color: transparent; box-shadow: 0 1px 5px 0px rgba(0, 0, 0, 0.5), 0 0 30px 0px rgba(0, 0, 0, 0.7), 0px -10px 25px rgba(255, 255, 255, 0.5), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } - boxlink{ - padding-left: 5px; - text-indent: 0px; - padding-right: 5px; - padding-bottom: 0px; - padding-top: 0px; + boxlink { + white-space: nowrap; + padding-left: 0%; + padding-right: 0%; + padding-bottom: 0%; + padding-top: 0%; text-align: right; color: black; font-weight: 500; - font-size: 24px; - line-height: 100%; + font-size: 20px; + line-height: 120%; font-family: helvetica; z-index: 300; position: relative; text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); - border-radius: 15px 15px 15px 15px; - display: inline-block; + border-radius: 10px 10px 10px 10px; background-color: transparent; box-shadow: 0 1px 5px 0px rgba(0, 0, 0, 0.5), 0 0 30px 0px rgba(0, 0, 0, 0.7), 0px -10px 25px rgba(255, 255, 255, 0.5), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; -} - - a{ + transition: all 100ms ease-in-out; +} + a{ text-decoration: none; color: black; text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); @@ -1161,7 +1376,7 @@ /*color: #353535;*/ color: black; font-weight: 500; - font-size: 24px; + font-size: 20px; line-height: 120%; font-family: helvetica; z-index: 100; @@ -1170,7 +1385,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } .intro:hover { color: black; @@ -1187,7 +1402,7 @@ background-color: transparent; border: none; position: fixed; - font-size: 24px; + font-size: 20px; padding: 3px 20px; color: black; font-family: helvetica; @@ -1195,25 +1410,26 @@ text-decoration:none; display: inline-block; top: 1%; - left: 30px; + left: 1%; text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); border-radius: 12px 12px 12px 12px; display: inline-block; z-index: 2000; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } .button:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); color: black; background-color: #CCCCCC; + mix-blend-mode: hard-light; } .buttonright { background-color: transparent; position: fixed; border: none; - font-size: 24px; + font-size: 20px; padding: 3px 20px; color: black; text-align: center; @@ -1227,24 +1443,25 @@ z-index: 1990; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } .buttonright:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); color: black; background: #CCCCCC; + mix-blend-mode: hard-light; } .buttonbottomright { background-color: transparent; position: fixed; border: none; - font-size: 24px; + font-size: 20px; padding: 3px 20px; color: black; text-align: center; text-decoration:none; display: inline-block; - right: 30px; + right: 1%; bottom: 1%; text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); border-radius: 12px 12px 12px 12px; @@ -1252,24 +1469,26 @@ z-index: 1990; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; + mix-blend-mode: hard-light; } .buttonbottomright:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); color: black; background: #CCCCCC; + mix-blend-mode: hard-light; } .help { background-color: transparent; position: fixed; border: none; - font-size: 24px; + font-size: 20px; padding: 3px 20px; color: black; text-align: center; text-decoration:none; display: inline-block; - right: 30px; + right: 1%; top: 1%; text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); border-radius: 12px 12px 12px 12px; @@ -1277,24 +1496,25 @@ z-index: 1990; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } .help:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); color: black; background: #CCCCCC; + mix-blend-mode: hard-light; } .response { background-color: transparent; position: fixed; border: none; - font-size: 24px; + font-size: 20px; padding: 3px 20px; color: black; text-align: center; text-decoration:none; display: inline-block; - left: 37%; + left: 40%; top: 1%; text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); border-radius: 12px 12px 12px 12px; @@ -1302,24 +1522,25 @@ z-index: 1990; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } .response:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); color: black; background: #CCCCCC; + mix-blend-mode: hard-light; } .print { background-color: transparent; position: fixed; border: none; - font-size: 24px; + font-size: 20px; padding: 3px 20px; color: black; text-align: center; text-decoration:none; display: inline-block; - right: 30px; + right: 1%; bottom: 1%; text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); border-radius: 12px 12px 12px 12px; @@ -1327,12 +1548,13 @@ z-index: 1990; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } .print:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); color: black; background: #CCCCCC; + mix-blend-mode: hard-light; } bodytitreleft { color: black; @@ -1358,7 +1580,7 @@ letter-spacing: 0px; text-justify: center; text-align: center; - bottom: 4%; + bottom: 10%; left: 47%; line-height: 100%; /*text-shadow: 0px 0px 10px rgba(0, 0, 0, 0.75), 0px 0px 18px rgba(255, 255, 255, 1);*/ @@ -1379,35 +1601,41 @@ line-height: 60%; /*text-shadow: 0px 0px 10px rgba(0, 0, 0, 0.75), 0px 0px 18px rgba(255, 255, 255, 1);*/ font-family: helvetica; - z-index: 100; + z-index: 0; position: relative; } sectiontitre { - padding-left: 20px; - padding-right: 20px; - padding-bottom: 20px; - font-family: helvetica; - padding-top: 20px; + padding-left: 3%; + padding-right: 3%; + padding-bottom: 3%; + padding-top: 3%; + margin-top: 2%; + margin-bottom: 2%; + margin-left: 2%; + margin-right: 2%; text-align: right; text-align: left; + margin-right: 2%; + margin-left: 2%; color: black; font-weight: 500; - font-size: 24px; + font-size: 20px; line-height: 120%; font-family: helvetica; - z-index: 300; + z-index: 0; position: relative; /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ border-radius: 15px 15px 15px 15px; display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } sectiontitre:hover { color: black; background-color: #CCCCCC; z-index: 300; + mix-blend-mode: hard-light; } ident { text-indent: 100px; @@ -1431,18 +1659,18 @@ display: inline-block; z-index: 0; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; pointer-events: none; -} +} box { - padding-left: 5px; - padding-right: 5px; - padding-bottom: 5px; - padding-top: 5px; + padding-left: 2%; + padding-right: 2%; + padding-bottom: 2%; + padding-top: 2%; text-align: right; color: black; font-weight: 500; - font-size: 24px; + font-size: 20px; line-height: 120%; font-family: helvetica; z-index: 300; @@ -1452,44 +1680,48 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } section { - padding-left: 20px; - padding-right: 20px; - padding-bottom: 20px; + display: block; + padding-left: 3%; + padding-right: 3%; + padding-bottom: 3%; + padding-top: 3%; + margin-top: 2%; + margin-bottom: 2%; + margin-left: 2%; + margin-right: 2%; font-family: helvetica; - padding-top: 20px; - margin-top: 10px; - margin-bottom: 10px; - margin-left: 10px; - margin-right: 10px; - text-align: right; text-align: left; color: black; font-weight: 500; - font-size: 24px; + font-size: 20px; line-height: 120%; font-family: helvetica; - z-index: 300; + z-index: 900; text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); border-radius: 15px 15px 15px 15px; display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } sectionimg { - padding-left: 20px; - padding-right: 20px; - padding-bottom: 20px; + padding-left: 3%; + padding-right: 3%; + padding-bottom: 3%; + padding-top: 3%; + margin-top: 2%; + margin-bottom: 2%; + margin-left: 2%; + margin-right: 2%; font-family: helvetica; - padding-top: 20px; text-align: right; text-align: left; color: black; font-weight: 500; - font-size: 24px; + font-size: 20px; line-height: 120%; font-family: helvetica; z-index: 300; @@ -1499,7 +1731,34 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; +} + sectionimg2 { + mix-blend-mode: lighter; + padding-left: 3%; + padding-right: 3%; + padding-bottom: 3%; + padding-top: 3%; + margin-top: 2%; + margin-bottom: 2%; + margin-left: 2%; + margin-right: 2%; + font-family: helvetica; + text-align: right; + text-align: left; + color: black; + font-weight: 500; + font-size: 20px; + line-height: 120%; + font-family: helvetica; + z-index: 300; + position: relative; + text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + border-radius: 15px 15px 15px 15px; + display: inline-block; + background-color: transparent; + box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); + transition: all 100ms ease-in-out; } sectionvertical { display: none; @@ -1550,31 +1809,29 @@ ‹button›Previous‹/button› --> - logo + logo ‹title›Tense‹/title› -

-
‹introduction›
‹author›Eilit Marom‹/author› (Haifa), @@ -1593,10 +1850,8 @@ 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›

@@ -1631,8 +1886,8 @@ keeps TENSE because it’s ongoing. Everything keeps unfolding, surfing the waves of desire.
-It is like an endless kiss..‹/paragraph›





- ‹image›Plan‹/image›

+It is like an endless kiss..‹/paragraph›

+ ‹image›Plan‹/image› ‹about› @@ -1658,16 +1913,16 @@ I am happy to sense you around;
And then I can taste time.
Faithfully.
‹/paragraph›

- ‹image›Plan‹/image›

+ ‹image›Plan‹/image›
-‹image›Plan‹/image›

-‹image›Plan‹/image›

+‹image›Plan‹/image› +‹image›Plan‹/image› ‹quote› « has the light changed ? » ‹/quote› ‹/section›
-
-
+ +
‹section› ‹paragraph› @@ -1695,43 +1950,40 @@ the participants from the workshops.‹/paragraph›

‹section› -‹credits›
+‹credits› Concept, Choreography, Performance / Simone Truong, Eilit Marom, Anna Massoni, Elpida Orfanidou, Adina Secretan ‹/credits› -

-‹credits›
-Light, Stage / Roger
+ ‹credits› +Light, Stage / Roger ‹/credits› -

-‹credits›
+‹credits› Studer - Mask / Dana Hesse, Katharina Kroll
‹/credits› -

-‹credits›
-Dramaturgy / Igor Dobricic
+ +‹credits› +Dramaturgy / Igor Dobricic ‹/credits› -

-‹credits›
-Outside eye / Jessica Huber
+‹credits› +Outside eye / Jessica Huber ‹/credits› -

-‹credits›
-Production management / Anke Hoffmann
+ +‹credits› +Production management / Anke Hoffmann ‹/credits› -

-‹credits›
-Assistance / Samira Bösch.
+ +‹credits› +Assistance / Samira Bösch. ‹/credits› -

-‹credits›
-Production / association Overseas
+ +‹credits› +Production / association Overseas ‹/credits› -

-‹credits›
+ +‹credits› Coproduction / Gessnerallee Zürich, Les Rencontres Chorégraphiques Internationales de Seine-Saint-Denis, Théâtre Sévelin 36 Lausanne -Picture / Flurin Bertschinger
+Picture / Flurin Bertschinger ‹/credits› ‹/section›
diff --git a/TENSE/index.html b/TENSE/index.html index 573e892..1f7c312 100644 --- a/TENSE/index.html +++ b/TENSE/index.html @@ -112,7 +112,7 @@ z-index: 9; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } h3 { padding-left: 3mm; @@ -132,7 +132,7 @@ z-index: 9; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } h4 { /*color: #353535;*/ @@ -227,7 +227,7 @@ z-index: 9; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } p2{ padding-left: 3mm; @@ -250,7 +250,7 @@ z-index: 9; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } p3 { content: "\a"; @@ -272,7 +272,7 @@ z-index: 1000; background-color: transparent; box-shadow: 0 1px 5px 0px rgba(0, 0, 0, 0.5), 0 0 30px 0px rgba(0, 0, 0, 0.2), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 0.8); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } p4 { @@ -299,7 +299,7 @@ z-index: 1000; background-color: transparent; box-shadow: 0 1px 5px 0px rgba(0, 0, 0, 0.5), 0 0 30px 0px rgba(0, 0, 0, 0.2), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 0.8); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } p5 { display: block; @@ -323,7 +323,7 @@ display: inline-block; z-index: 1000; background-color: transparent; - box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); transition: all 300ms ease-in-out; + box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); transition: all 100ms ease-in-out; } not{ font-size: 8pt; @@ -394,7 +394,7 @@ z-index: 9; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } boxfootnotes { padding-left: 3mm; @@ -415,7 +415,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 5px 0px rgba(0, 0, 0, 0.5), 0 0 30px 0px rgba(0, 0, 0, 0.7), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } boxlink{ padding-left: 1mm; @@ -435,7 +435,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 5px 0px rgba(0, 0, 0, 0.5), 0 0 30px 0px rgba(0, 0, 0, 0.7), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } a{ @@ -477,7 +477,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } ident { text-indent: 10mm; @@ -501,7 +501,7 @@ display: inline-block; z-index: 9; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } box { padding-left: 3mm; @@ -521,7 +521,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } section { @@ -545,7 +545,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } sectionvertical { display: block; @@ -570,7 +570,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } h7vertical { @@ -608,7 +608,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } br { display: none; @@ -711,23 +711,210 @@ @font-face { font-family: 'Robotomedium'; src: url('Roboto-Medium.ttf'); +} + @font-face { + font-family: 'Brut'; + src: url('Brut_Grotesque-Text.otf'); +} + @font-face { + font-family: 'Brutbold'; + src: url('Brut_Grotesque-Bold.otf'); +} + brut { + font-family: 'Brut'; + color: black; + text-align: left; + font-size: 20px; + line-height: 120%; +} + + /*div {background-color: transparent;} + div a { + text-decoration: none; + color: black; + margin-left: 10%; + font-size: 20px; + background-color: white; + display:inline-block; +}*/ + ul { + display: inline; + margin: 0; + padding: 0; + transition: all 500ms ease-in-out; +} + ul li { + display: inline-block; +} + ul li:hover { +} + ul li:hover ul { + position: fixed; + display: block; + z-index: 20; + top: 3%; + left: 1%; + border-radius: 15px 15px 15px 15px; + transition: all 500ms ease-in-out; + line-height: 120%; + font-size: 20px; + max-width: 50%; + white-space: nowrap; +} + ul li ul { + position: absolute; + padding: 0% 0%; + display: none; + transition: all 100ms ease-in-out; + border-radius: 15px 15px 15px 15px; + z-index: 5000; + background-color: transparent; +} + ul li ul li { + background: blue; + display: block; + margin-top: 0; + margin-left: 0; + border-radius: 15px 15px 15px 15px; + z-index: 5000; + background-color: #CCCCCC; + mix-blend-mode: hard-light; + box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); + transition: all 100ms ease-in-out; + padding: 3px 20px; + margin-top: 6%; +} + ul li ul li a { + display:block !important; +} + ul li ul li:hover { + background: transparent; + transition: all 100ms ease-in-out; +} + +/*——————————————————————————————————————————————*/ + + ul2 { + display: inline; + margin: 0; + padding: 0; + transition: all 500ms ease-in-out; +} + ul2 li2 { + display: inline-block; +} + ul2 li2:hover { +} + ul2 li2:hover ul2 { + position: fixed; + display: block; + z-index: 20; + top: 3%; + right: 1%; + max-width:40%; + line-height: 120%; + font-size: 20px; + text-align: left; + border-radius: 15px 15px 15px 15px; + transition: all 500ms ease-in-out; + white-space: nowrap; +} + ul2 li2 ul2 { + position: absolute; + padding: 0% 0%; + display: none; + transition: all 100ms ease-in-out; + border-radius: 15px 15px 15px 15px; + z-index: 5000; + background-color: transparent; +} + ul2 li2 ul2 li2 { + display: block; + margin-top: 0; + margin-right: 0; + border-radius: 15px 15px 15px 15px; + z-index: 5000; + background-color: #CCCCCC; + mix-blend-mode: hard-light; + box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); + transition: all 100ms ease-in-out; + padding: 3px 20px; + margin-top: 6%; +} + ul2 li2 ul2 li2 a { + display:block !important; +} + ul2 li2 ul2 li2:hover { + background: transparent; + transition: all 100ms ease-in-out; +} + +/*——————————————————————————————————————————————*/ + + ul3 { + display: inline; + margin: 0; + padding: 0; + transition: all 500ms ease-in-out; +} + ul3 li3 { + display: inline-block; +} + ul3 li3:hover { +} + ul3 li3:hover ul3 { + position: fixed; + display: block; + z-index: 20; + bottom: 3%; + right: 1%; + max-width:40%; + line-height: 120%; + font-size: 20px; + text-align: left; + border-radius: 15px 15px 15px 15px; + transition: all 500ms ease-in-out; +} + ul3 li3 ul3 { + position: absolute; + padding: 0% 0%; + display: none; + transition: all 100ms ease-in-out; + border-radius: 15px 15px 15px 15px; + z-index: 5000; + background-color: transparent; +} + ul3 li3 ul3 li3 { + display: block; + margin-bottom: 0; + margin-right: 0; + border-radius: 15px 15px 15px 15px; + z-index: 5000; + background-color: #CCCCCC; + mix-blend-mode: hard-light; + box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); + transition: all 100ms ease-in-out; + padding: 3px 20px; + margin-bottom: 6%; +} + ul3 li3 ul3 li3 a { + display:block !important; +} + ul3 li3 ul3 li3:hover { + background: transparent; + transition: all 100ms ease-in-out; } logo { position: fixed; bottom: 0%; left: 1%; z-index: 1000; - } +} body{ - - /*margin-top: 10vw; - margin-bottom: 10vw; - margin-left: 20vw; - margin-right: 20vw;*/ - margin-top: 70px; - margin-bottom: 30px; - margin-left: 30px; - margin-right: 30px; + margin-top: 6%; + margin-bottom: 6%; + margin-left: 1%; + margin-right: 1%; columns: 2 auto; /*background: white;*/ background: rgb(233,233,233); @@ -738,7 +925,6 @@ position: absolute; } h1 { - /*color: #353535;*/ color: black; font-family: helvetica; text-align: center; @@ -767,19 +953,20 @@ display: inline-block; z-index: 9; background-color: transparent; - box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); + transition: all 100ms ease-in-out; } h2:hover { color: black; z-index: 3000; background-color: #CCCCCC; + mix-blend-mode: hard-light; } h3 { padding-left: 3%; padding-right: 3%; - padding-bottom: 50px; - padding-top: 50px; + padding-bottom: 7%; + padding-top: 7%; color: black; font-style: italic; text-align: center; @@ -793,15 +980,14 @@ z-index: 9; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; - + transition: all 100ms ease-in-out; } h3:hover { color: black; background-color: #CCCCCC; + mix-blend-mode: hard-light; } h4 { - /*color: #353535;*/ color: black; font-family: helvetica; font-size: 20px; @@ -845,7 +1031,7 @@ opacity: 1; font-family: helvetica; font-weight: 500; - text-indent: 24px; + text-indent: 20px; margin-left: 0px; font-size: 20px; text-align: center; @@ -885,8 +1071,11 @@ padding-left: 3%; padding-right: 3%; padding-bottom: 3%; - font-family: helvetica; padding-top: 3%; + margin-top: 2%; + margin-bottom: 2%; + margin-left: 2%; + margin-right: 2%; text-align: right; text-align: left; margin-right: 2%; @@ -903,24 +1092,26 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } sectiontitre:hover { color: black; background-color: #CCCCCC; z-index: 300; + mix-blend-mode: hard-light; } p { padding-left: 3%; padding-right: 3%; - padding-bottom: 50px; - padding-top: 50px; + padding-bottom: 7%; + padding-top: 7%; font-size: 20px; text-indent: 50px; line-height: 120%; text-align: left; font-weight: normal; margin-top: 3%; + margin-bottom: 0%; font-family: helvetica; display: inline-block; color: black; @@ -930,7 +1121,8 @@ display: inline-block; z-index: 0; background-color: transparent; - box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); transition: all 500ms ease-in-out; + box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); + transition: all 500ms ease-in-out; } p:hover { @@ -938,12 +1130,13 @@ background-color: #CCCCCC; z-index: 300; mix-blend-mode: hard-light; + box-shadow: 0 1px 30px 0px #0000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); } p2 { padding-left: 3%; padding-right: 3%; - padding-bottom: 50px; - padding-top: 50px; + padding-bottom: 7%; + padding-top: 7%; font-size: 20px; line-height: 120%; font-weight: normal; @@ -958,7 +1151,7 @@ z-index: 0; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } p2:hover { color: black; @@ -985,7 +1178,7 @@ z-index: 10; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } p3:hover { color: black; @@ -1014,7 +1207,7 @@ z-index: 9; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } p4 { display:none; @@ -1036,7 +1229,6 @@ font-family: helvetica; color: black; z-index: 400; - /*text-shadow: 0px 1px 16px rgba(0, 0, 0, 0.35);*/ } span { @@ -1054,8 +1246,7 @@ height: 40%; margin-left: 0px; margin-right: 0px; - margin-top: 1x%; - margin-bottom: 1%; + margin-top: 3%; /*background-color: #CCCCCC;*/ background-color: transparent; border-radius: 2% 2% 2% 2%; @@ -1076,7 +1267,7 @@ color: black; background-color: #CCCCCC; z-index: 300; - + mix-blend-mode: hard-light; } .content { position: relative; @@ -1085,6 +1276,7 @@ color: black; border-radius: 6% 6% 6% 6%; width: 100%; + margin-top: 1%; font-family: helvetica; font-size: 20px; height: 100%; @@ -1102,7 +1294,7 @@ z-index: 9; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } boxfootnotes { white-space: nowrap; @@ -1123,7 +1315,7 @@ border-radius: 10px 10px 10px 10px; background-color: transparent; box-shadow: 0 1px 5px 0px rgba(0, 0, 0, 0.5), 0 0 30px 0px rgba(0, 0, 0, 0.7), 0px -10px 25px rgba(255, 255, 255, 0.5), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } boxlink { @@ -1144,12 +1336,13 @@ border-radius: 10px 10px 10px 10px; background-color: transparent; box-shadow: 0 1px 5px 0px rgba(0, 0, 0, 0.5), 0 0 30px 0px rgba(0, 0, 0, 0.7), 0px -10px 25px rgba(255, 255, 255, 0.5), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } a{ text-decoration: none; color: black; + font-size: 20px; text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); z-index: 1000; } @@ -1167,8 +1360,8 @@ .intro { padding-left: 3%; padding-right: 3%; - padding-bottom: 50px; - padding-top: 50px; + padding-bottom: 7%; + padding-top: 7%; text-align: left; /*color: #353535;*/ color: black; @@ -1183,12 +1376,13 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } .intro:hover { color: black; background-color: #CCCCCC; - z-index: 300; + z-index: 300; + mix-blend-mode: hard-light; } .href { color: #353535; @@ -1215,12 +1409,13 @@ z-index: 2000; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } .button:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); color: black; background-color: #CCCCCC; + mix-blend-mode: hard-light; } .buttonright { background-color: transparent; @@ -1240,12 +1435,13 @@ z-index: 1990; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } .buttonright:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); color: black; background: #CCCCCC; + mix-blend-mode: hard-light; } .buttonbottomright { background-color: transparent; @@ -1265,12 +1461,14 @@ z-index: 1990; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; + mix-blend-mode: hard-light; } .buttonbottomright:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); color: black; background: #CCCCCC; + mix-blend-mode: hard-light; } .help { background-color: transparent; @@ -1290,12 +1488,13 @@ z-index: 1990; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } .help:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); color: black; background: #CCCCCC; + mix-blend-mode: hard-light; } .response { background-color: transparent; @@ -1307,7 +1506,7 @@ text-align: center; text-decoration:none; display: inline-block; - left: 45%; + left: 40%; top: 1%; text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); border-radius: 12px 12px 12px 12px; @@ -1315,12 +1514,13 @@ z-index: 1990; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } .response:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); color: black; background: #CCCCCC; + mix-blend-mode: hard-light; } .print { background-color: transparent; @@ -1340,12 +1540,13 @@ z-index: 1990; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } .print:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); color: black; background: #CCCCCC; + mix-blend-mode: hard-light; } bodytitreleft { color: black; @@ -1401,7 +1602,7 @@ display: inline-block; z-index: 0; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; pointer-events: none; } box { @@ -1422,7 +1623,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } section { display: block; @@ -1447,9 +1648,40 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 100ms ease-in-out; } - + sectionintro { + display: block; + padding-left: 3%; + padding-right: 3%; + padding-bottom: 7%; + padding-top: 7%; + margin-top: 2%; + margin-bottom: 2%; + margin-left: 2%; + margin-right: 2%; + font-family: helvetica; + text-align: left; + color: black; + font-weight: 500; + font-size: 20px; + line-height: 120%; + font-family: helvetica; + z-index: 900; + text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + border-radius: 15px 15px 15px 15px; + display: inline-block; + background-color: transparent; + box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); + transition: all 100ms ease-in-out; +} + sectionintro:hover { + color: black; + background-color: #CCCCCC; + z-index: 300; + mix-blend-mode: hard-light; +} + sectionvertical { display: none; } @@ -1500,16 +1732,68 @@
+ - + + + + + + + ‹title›TENSE‹/title› +
‹contributor›Simon(e) van Saarloos‹/contributor› +
‹interpretation›Martin Foucaut‹/interpretation› +
‹license›© 2020 XPUB - SPECIAL ISSUE 13‹/license› + + ‹button›🡢 Map (beta)T‹/button› + ‹button›🡢 Contribution ResampleT‹/button› + ‹button›🡢 Response ResampleT‹/button› + + + + + + + + + + + + ‹button›🡢 Reinterpretation PDF (page 1)‹/button› + ‹button›🡢 Reinterpretation PDF (page 2)‹/button› + ‹button›🡢 Original Contribution (pdf)‹/button› + ‹button›🡢 Original Artistic response (pdf)‹/button› + ‹button›🡢 Web to Print (from your browser)‹/button› + + + + + + + @@ -1518,10 +1802,10 @@ + --> - logo + logo
@@ -1530,7 +1814,7 @@
-
+ ‹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 @@ -1543,7 +1827,7 @@ 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›
+ against Geert Wilders.‹/bio› ‹song› @@ -1600,7 +1884,7 @@ led by Sylvana Simons. She is currently writing a book on the trial ‹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› +
‹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› @@ -1610,14 +1894,14 @@ led by Sylvana Simons. She is currently writing a book on the trial

‹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› +
‹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› +‹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› @@ -1626,7 +1910,7 @@ led by Sylvana Simons. She is currently writing a book on the trial

‹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› +
‹image› This image may contain: one person, arriving ‹/image›
@@ -1638,7 +1922,7 @@ This image may contain: one person, arriving ‹/image›
‹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› 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›
@@ -1648,7 +1932,7 @@ This image may contain: one person, arriving ‹/image›


  1. ‹footnote›West, K. 2016. Low Lights. The Life of Pablo.↩‹/footnote›

    2. -


  2. ‹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.↩

    3. +


  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. ‹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›


  5. ‹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›


  6. ‹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›

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box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; } ident { text-indent: 10mm; @@ -543,7 +758,7 @@ display: inline-block; z-index: 9; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; } box { padding-left: 3mm; @@ -551,7 +766,7 @@ padding-bottom: 3mm; padding-top: 3mm; text-align: right; - color: black; + color: transparent; font-weight: 500; font-size: 6pt; line-height: 8pt; @@ -563,7 +778,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; } section { @@ -575,7 +790,7 @@ font-family: helvetica; margin-top: 3mm; text-align: left; - color: black; + color: transparent; font-weight: 500; font-size: 6pt; line-height: 8pt; @@ -587,8 +802,9 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; } + sectionvertical { display: block; padding-left: 3mm; @@ -600,7 +816,7 @@ margin-top: 3mm; text-align: right; text-justify: right; - color: black; + color: transparent; font-weight: 500; font-size: 8pt; line-height: 10pt; @@ -612,7 +828,7 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; } sectiontitre { display: none; @@ -636,17 +852,12 @@ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; } br { display: none; } - - symbol { - font-family: 'WFTF'; - font-size: 20pt; - text-align: center; - } + .b { font-family: helvetica; font-weight: bold; @@ -666,7 +877,7 @@ bodytitreleft { display: none; position: relative; - color: black; + color: transparent; font-family: helvetica; opacity: 1; font-size: 70pt; @@ -682,7 +893,7 @@ bodytitreright { display: none; position: relative; - color: black; + color: transparent; font-family: helvetica; opacity: 1; font-size: 70pt; @@ -725,22 +936,32 @@ font-family: 'EBGaramonditalic'; src: url('EBGaramond-Italic.ttf'); } + @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'); +} + Broken Image { + display: none; + } logo { position: fixed; - bottom: 0; + bottom: 0%; left: 1%; z-index: 1000; } body{ - - /*margin-top: 10vw; - margin-bottom: 10vw; - margin-left: 20vw; - margin-right: 20vw;*/ - margin-top: 70px; - margin-bottom: 30px; - margin-left: 30px; - margin-right: 30px; + margin-top: 6%; + margin-bottom: 6%; + margin-left: 1%; + margin-right: 1%; columns: 2 auto; /*background: white;*/ background: rgb(233,233,233); @@ -751,8 +972,7 @@ position: absolute; } h1 { - /*color: #353535;*/ - color: black; + color: transparent; font-family: helvetica; text-align: center; line-height: 100%; @@ -763,67 +983,70 @@ position: fixed; } h2 { - padding-left: 20px; - padding-right: 20px; - padding-bottom: 20px; - padding-top: 20px; + padding-left: 3%; + padding-right: 3%; + padding-bottom: 3%; + padding-top: 3%; /*color: #353535;*/ - color: black; + color: transparent; font-family: helvetica; font-weight: 500; - font-size: 24px; + font-size: 20px; margin-left: 50px; line-height: 120%; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); z-index: 250; - border-radius: 15px 15px 15px 15px; display: inline-block; z-index: 9; background-color: transparent; - box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 500ms ease-in-out; } h2:hover { color: black; - background-color: #CCCCCC; + border-radius: 15px 15px 15px 15px; + z-index: 3000; + text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); + transition: all 500ms ease-in-out; + /*mix-blend-mode: hard-light;*/ } h3 { - padding-left: 20px; - padding-right: 20px; - padding-bottom: 50px; - padding-top: 50px; - color: black; + padding-left: 3%; + padding-right: 3%; + padding-bottom: 7%; + padding-top: 7%; + color: transparent; font-style: italic; text-align: center; font-family: times new roman; font-weight: lighter; - font-size: 24px; + font-size: 20px; line-height: 120%; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); - border-radius: 15px 15px 15px 15px; + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ display: inline-block; z-index: 9; background-color: transparent; - box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; - + transition: all 400ms ease-in-out; } h3:hover { + color: transparent; + background-color: transparent; color: black; - background-color: #CCCCCC; + /*mix-blend-mode: hard-light;*/ + border-radius: 15px 15px 15px 15px; + transition: all 400ms ease-in-out; + box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); } h4 { - /*color: #353535;*/ - color: black; + color: transparent; font-family: helvetica; - font-size: 24px; + font-size: 20px; line-height: 90%; } h5 { color: #EDEDED; font-family: helvetica; font-size: 120pt; - font-size: 24px; + font-size: 20px; text-justify: none; bottom: 0; position: fixed; @@ -834,7 +1057,7 @@ h6 { color: transparent; font-family: helvetica; - font-size: 24px; + font-size: 20px; bottom: 0; left: 0; position: fixed; @@ -847,7 +1070,7 @@ opacity: 1; font-family: helvetica; font-weight: 500; - font-size: 24px; + font-size: 20px; margin-left: 0px; line-height: 110%; color: #FFF200; @@ -857,9 +1080,9 @@ opacity: 1; font-family: helvetica; font-weight: 500; - text-indent: 24px; + text-indent: 20px; margin-left: 0px; - font-size: 24px; + font-size: 20px; text-align: center; line-height: 110%; color: #FFF200; @@ -869,7 +1092,7 @@ opacity: 1; font-family: helvetica; font-weight: 500; - font-size: 24px; + font-size: 20px; text-align: center; margin-left: 0px; z-index: 1000; @@ -877,135 +1100,167 @@ color: #FFF200; text-shadow: -1px 0 black, 0 1px black, 1px 0 black, 0 -1px black;/*, 0px 0px 19px rgba(255, 255, 255, 1)*/ } - p{ - padding-left: 20px; - padding-right: 20px; - padding-bottom: 50px; - padding-top: 50px; - font-size: 24px; - text-indent: 50px; + p { + padding-left: 3%; + padding-right: 3%; + padding-bottom: 7%; + padding-top: 7%; + font-size: 20px; + text-indent: 20px; line-height: 120%; text-align: left; font-weight: normal; + margin-top: 3%; + margin-bottom: 0%; font-family: helvetica; - /*color: #353535;*/ - color: black; - z-index: 250; + display: inline-block; + color: transparent; /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ /*text-shadow: 0px 1px 16px rgba(0, 0, 0, 0.35);*/ - border-radius: 15px 15px 15px 15px; display: inline-block; - z-index: 9; + z-index: 0; background-color: transparent; - box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); transition: all 500ms ease-in-out; + transition: all 400ms ease-in-out; } - p:hover { + box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); color: black; - background-color: #CCCCCC; -} - p2{ - padding-left: 20px; - padding-right: 20px; - padding-bottom: 50px; - padding-top: 50px; - font-size: 24px; - line-height: 120%; - font-weight: normal; - text-align: left; - font-family: helvetica; - mix-blend-mode: hard-light; - /*color: #353535;*/ - color: black; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); - /*text-shadow: 0px 1px 16px rgba(0, 0, 0, 0.35);*/ + transition: all 400ms ease-in-out; border-radius: 15px 15px 15px 15px; - display: inline-block; - z-index: 9; - background-color: transparent; - box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; -} - p11{ - padding-left: 20px; - padding-right: 20px; - padding-bottom: 50px; - padding-top: 50px; - font-size: 24px; + text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + } + p2 { + padding-left: 3%; + padding-right: 3%; + padding-bottom: 7%; + padding-top: 7%; + font-size: 20px; line-height: 120%; font-weight: normal; + margin-top: 3%; text-align: left; font-family: helvetica; - mix-blend-mode: hard-light; - /*color: #353535;*/ - color: black; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); - /*text-shadow: 0px 1px 16px rgba(0, 0, 0, 0.35);*/ - border-radius: 50px 50px 50px 50px; display: inline-block; - z-index: 9; + color: transparent; + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ + /*text-shadow: 0px 1px 16px rgba(0, 0, 0, 0.35);*/ + z-index: 0; background-color: transparent; - box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; } p2:hover { + box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); color: black; - background-color: #CCCCCC; -} + border-radius: 15px 15px 15px 15px; + transition: all 400ms ease-in-out; + text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + } + p3 { padding-left: 20px; padding-right: 20px; padding-bottom: 10px; padding-top: 10px; - margin-top: 10px; - margin-top: 10px; - color: black; + margin-top: 2%; + margin-bottom: 2%; + color: transparent; text-align: center; font-family: 'EBGaramondmediumitalic'; - font-size: 24px; + font-size: 20px; line-height: 120%; /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ - border-radius: 15px 15px 15px 15px; display: inline-block; z-index: 10; background-color: transparent; - box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; } p3:hover { + color: transparent; + z-index: 300; color: black; - background-color: #CCCCCC; - z-index: 300; -} - p5 { - padding-left: 20px; - padding-right: 20px; - padding-bottom: 10px; - padding-top: 10px; - margin-top: 10px; - margin-top: 10px; - color: black; - font-style: italic; + border-radius: 15px 15px 15px 15px; + box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); + transition: all 400ms ease-in-out; + /*mix-blend-mode: hard-light;*/ +} + p5 { + padding-left: 1%; + padding-right: 1%; + padding-bottom: 2%; + padding-top: 2%; + margin-top: 2%; + margin-bottom: 2%; + margin-left: 2%; + margin-right: 2%; + color: transparent; text-align: center; - font-family: Times, serif; - font-size: 24px; + font-family: 'EBGaramondmediumitalic'; + font-size: 20px; line-height: 120%; /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ - border-radius: 15px 15px 15px 15px; display: inline-block; z-index: 9; background-color: transparent; + transition: all 400ms ease-in-out; +} + p5:hover { + color: transparent; + background-color: transparent; + z-index: 300; + border-radius: 15px 15px 15px 15px; + color: black; + transition: all 400ms ease-in-out; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; -} + } p4 { display:none; } + p11 { + padding-left: 4%; + padding-right: 4%; + padding-bottom: 3%; + padding-top: 3%; + margin-top: 2%; + margin-bottom: 2%; + margin-left: 1%; + margin-right: 1%; + font-size: 20px; + line-height: 120%; + font-weight: normal; + text-align: left; + font-family: helvetica; + /*mix-blend-mode: hard-light;*/ + color: transparent; + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ + /*text-shadow: 0px 1px 16px rgba(0, 0, 0, 0.35);*/ + display: inline-block; + z-index: 9; + transition: all 400ms ease-in-out; + background-color: transparent; +} + p11:hover { + color: black; + box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); + text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + z-index: 300; + border-radius: 50px 50px 50px 50px; + transition: all 400ms ease-in-out; + /*mix-blend-mode: hard-light;*/ +} + sup { + color: transparent; + opacity: 0; + } + sup:hover { + color: black; + opacity: 1; + transition: all 400ms ease-in-out; + } symbol { font-family: 'WFTF'; - font-size: 24px; - margin-left: 10px; - margin-right: 10px; + font-size: 20px; + margin-left: 2%; + margin-right: 2%; } symbol:hover { font-family: 'WFTF'; @@ -1016,343 +1271,348 @@ line-height: 120%; font-weight: normal; font-family: helvetica; - color: black; + color: transparent; z-index: 400; - /*text-shadow: 0px 1px 16px rgba(0, 0, 0, 0.35);*/ } span { color: black; } .square { - padding-left: 10px; - padding-right: 10px; - padding-bottom: 10px; - padding-top: 10px; + padding-left: 1%; + padding-right: 1%; + padding-bottom: 1%; + padding-top: 1%; position: relative; font-family: helvetica; - font-size: 24px; - width: 90%; - height: 50%; + color: transparent; + font-size: 20px; + width: 80%; + height: 40%; margin-left: 0px; margin-right: 0px; - margin-top: 0px; - margin-bottom: 0px; + margin-top: 3%; /*background-color: #CCCCCC;*/ - background: transparent; - border-radius: 10px 10px 10px 10px; - box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); + background-color: transparent; z-index: 100; filter: blur(0.2px); + transition: all 400ms ease-in-out; -webkit-filter: blur(0.2px); } .square:after { content: ""; display: block; - padding-bottom: 50%; + padding-top: 50%; + padding-right: 50%; z-index: 100; + border-radius: 2% 2% 2% 2%; } .square:hover { color: black; - background-color: #CCCCCC; + transition: all 400ms ease-in-out; z-index: 300; + border-radius: 2% 2% 2% 2%; + box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); } .content { - position: absolute; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + position: relative; + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ /*color: #353535;*/ - color: black; + color: transparent; + border-radius: 6% 6% 6% 6%; width: 100%; + margin-top: 1%; font-family: helvetica; - font-size: 24px; + font-size: 20px; height: 100%; - margin: 10px; z-index: 100; } - - .portrait { - position: relative; - width: 50%; - height: 50%; - margin-left: 20px; - margin-right: 20px; - margin-top: 20px; - margin-bottom: 20px; - /*background-color: #CCCCCC;*/ - background: rgb(214,214,214); - background: radial-gradient(circle, rgba(214,214,214,1) 0%, rgba(221,221,221,1) 100%); - box-shadow: 0px 0px 12px 11px rgba(0,0,0,0.25); - z-index: 100; - filter: blur(1px); - -webkit-filter: blur(1px); -} - - .portrait:after { - content: ""; - display: block; - padding-bottom: 120%; - z-index: 100; + .content { + } footnotes { - color: #353535; + color: transparent; font-family: helvetica; font-weight: 900; - font-size: 24px; + font-size: 20px; border-radius: 15px 15px 15px 15px; font-family: helvetica; display: inline-block; z-index: 9; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; -} + transition: all 400ms ease-in-out; +} boxfootnotes { - padding-left: 5px; - text-indent: 0px; - padding-right: 5px; - padding-bottom: 0px; + white-space: nowrap; + padding-left: 2%; + text-indent: 0%; + padding-right: 2%; + padding-bottom: 0%; padding-top: 0px; text-align: right; - color: black; + color: transparent; font-weight: 500; - font-size: 24px; - line-height: 100%; + font-size: 20px; + line-height: 120%; font-family: helvetica; z-index: 300; position: relative; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ border-radius: 10px 10px 10px 10px; - display: inline-block; background-color: transparent; + transition: all 400ms ease-in-out; +} + boxfootnotes:hover { + transition: all 400ms ease-in-out; + z-index: 1000; + color: black; box-shadow: 0 1px 5px 0px rgba(0, 0, 0, 0.5), 0 0 30px 0px rgba(0, 0, 0, 0.7), 0px -10px 25px rgba(255, 255, 255, 0.5), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + + /*mix-blend-mode: hard-light;*/ } - - boxlink{ - padding-left: 5px; - text-indent: 0px; - padding-right: 5px; - padding-bottom: 100px; - padding-top: 100px; + boxlink { + content: "\a"; + white-space: pre; + text-indent: 0%; + padding-bottom: 20%; + padding-top: 20%; + padding-left: 1%; + padding-right: 1%; text-align: right; color: black; font-weight: 500; - font-size: 24px; + font-size: 20px; line-height: 100%; font-family: helvetica; z-index: 300; position: relative; text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); - border-radius: 200px 200px 200px 200px; + border-radius: 0px 0px 0px 0px; display: inline-block; - background-color: transparent; - box-shadow: 0 1px 5px 0px rgba(0, 0, 0, 0.5), 0 0 30px 0px rgba(0, 0, 0, 0.7), 0px -10px 25px rgba(255, 255, 255, 0.5), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + background-color: transparent; + transition: all 400ms ease-in-out; +} + boxlink:hover { + color: black; + z-index: 300; + box-shadow: 0 1px 5px 0px rgba(0, 0, 0, 0.5), 0 0 30px 0px rgba(0, 0, 0, 0.7), 0px -10px 25px rgba(255, 255, 255, 0.5), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); + border-radius: 100px 100px 100px 100px; + transition: all 400ms ease-in-out; + /*mix-blend-mode: hard-light;*/ } - a{ text-decoration: none; + color: transparent; color: black; text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); z-index: 1000; } a:visited{ text-decoration: none; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ } a:hover { color: black; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ } navigation { margin: 0px; } .intro { - padding-left: 20px; - padding-right: 20px; - padding-bottom: 50px; - padding-top: 50px; + padding-left: 3%; + padding-right: 3%; + padding-bottom: 7%; + padding-top: 7%; text-align: left; /*color: #353535;*/ - color: black; + color: transparent; font-weight: 500; - font-size: 24px; + font-size: 20px; line-height: 120%; text-indent: 50px; font-family: helvetica; z-index: 100; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); - border-radius: 15px 15px 15px 15px; + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ + border-radius: 0px 0px 0px 0px; display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; } .intro:hover { - color: black; - background-color: #CCCCCC; - z-index: 300; + color: transparent; + background-color: transparent; + border-radius: 15px 15px 15px 15px; + z-index: 300; + /*mix-blend-mode: hard-light;*/ } .href { color: #353535; } .href:hover { - color: black; + color: transparent; } .button { background-color: transparent; border: none; position: fixed; - font-size: 24px; + font-size: 20px; padding: 3px 20px; - color: black; + color: transparent; font-family: helvetica; text-align: center; text-decoration:none; display: inline-block; top: 1%; - left: 30px; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + left: 1%; + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ border-radius: 12px 12px 12px 12px; display: inline-block; z-index: 2000; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; } .button:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - color: black; - background-color: #CCCCCC; + color: transparent; + background-color: transparent; + /*mix-blend-mode: hard-light;*/ } .buttonright { background-color: transparent; position: fixed; border: none; - font-size: 24px; + font-size: 20px; padding: 3px 20px; - color: black; + color: transparent; text-align: center; text-decoration:none; display: inline-block; - right: 30px; + left: 25%; top: 1%; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ border-radius: 12px 12px 12px 12px; display: inline-block; z-index: 1990; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; } .buttonright:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - color: black; + color: transparent; background: #CCCCCC; + /*mix-blend-mode: hard-light;*/ } .buttonbottomright { background-color: transparent; position: fixed; border: none; - font-size: 24px; + font-size: 20px; padding: 3px 20px; - color: black; + color: transparent; text-align: center; text-decoration:none; display: inline-block; - right: 30px; + right: 1%; bottom: 1%; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ border-radius: 12px 12px 12px 12px; display: inline-block; z-index: 1990; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; + /*mix-blend-mode: hard-light;*/ } .buttonbottomright:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - color: black; + color: transparent; background: #CCCCCC; + /*mix-blend-mode: hard-light;*/ } .help { background-color: transparent; position: fixed; border: none; - font-size: 24px; + font-size: 20px; padding: 3px 20px; - color: black; + color: transparent; text-align: center; text-decoration:none; display: inline-block; - right: 30px; + right: 1%; top: 1%; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ border-radius: 12px 12px 12px 12px; display: inline-block; z-index: 1990; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; } .help:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - color: black; + color: transparent; background: #CCCCCC; + /*mix-blend-mode: hard-light;*/ } .response { background-color: transparent; position: fixed; border: none; - font-size: 24px; + font-size: 20px; padding: 3px 20px; - color: black; + color: transparent; text-align: center; text-decoration:none; display: inline-block; - left: 37%; + left: 40%; top: 1%; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ border-radius: 12px 12px 12px 12px; display: inline-block; z-index: 1990; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; } .response:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - color: black; + color: transparent; background: #CCCCCC; + /*mix-blend-mode: hard-light;*/ } - .print { background-color: transparent; position: fixed; border: none; - font-size: 24px; + font-size: 20px; padding: 3px 20px; - color: black; + color: transparent; text-align: center; text-decoration:none; display: inline-block; - right: 30px; + right: 1%; bottom: 1%; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ border-radius: 12px 12px 12px 12px; display: inline-block; z-index: 1990; background-color: transparent; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; } .print:hover { box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 5px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - color: black; + color: transparent; background: #CCCCCC; + /*mix-blend-mode: hard-light;*/ } bodytitreleft { - color: black; + color: transparent; font-family: helvetica; opacity: 1; font-size: 70px; @@ -1368,7 +1628,7 @@ position: fixed; } bodytitreright { - color: black; + color: transparent; font-family: helvetica; opacity: 1; font-size: 70px; @@ -1384,7 +1644,7 @@ position: fixed; } titre { - color: black; + color: transparent; font-family: helvetica; opacity: 1; font-size: 70px; @@ -1400,31 +1660,35 @@ position: relative; } sectiontitre { - padding-left: 20px; - padding-right: 20px; - padding-bottom: 20px; + padding-left: 3%; + padding-right: 3%; + padding-bottom: 3%; font-family: helvetica; - padding-top: 20px; + padding-top: 3%; text-align: right; text-align: left; - color: black; + margin-right: 2%; + margin-left: 2%; + color: transparent; font-weight: 500; - font-size: 24px; + font-size: 20px; line-height: 120%; font-family: helvetica; - z-index: 300; + z-index: 0; position: relative; /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ - border-radius: 15px 15px 15px 15px; + border-radius: 0px 0px 0px 0px; display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; } sectiontitre:hover { color: black; - background-color: #CCCCCC; z-index: 300; + border-radius: 15px 15px 15px 15px; + transition: all 400ms ease-in-out; + /*mix-blend-mode: hard-light;*/ } ident { text-indent: 100px; @@ -1448,53 +1712,89 @@ display: inline-block; z-index: 0; box-shadow: 0 1px 10px 0px #000000, 0 0 20px 0px #000000, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; pointer-events: none; } box { - padding-left: 5px; - padding-right: 5px; - padding-bottom: 5px; - padding-top: 5px; + padding-left: 2%; + padding-right: 2%; + padding-bottom: 2%; + padding-top: 2%; text-align: right; - color: black; + color: transparent; font-weight: 500; - font-size: 24px; + font-size: 20px; line-height: 120%; font-family: helvetica; z-index: 300; position: relative; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ border-radius: 15px 15px 15px 15px; display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; } section { - padding-left: 20px; - padding-right: 20px; - padding-bottom: 20px; - padding-top: 20px; + display: block; + padding-left: 3%; + padding-right: 3%; + padding-bottom: 3%; + padding-top: 3%; + margin-top: 2%; + margin-bottom: 2%; + margin-left: 2%; + margin-right: 2%; font-family: helvetica; - margin-top: 10px; - margin-bottom: 10px; - margin-left: 10px; - margin-right: 10px; - text-align: right; text-align: left; - color: black; + color: transparent; font-weight: 500; - font-size: 24px; + font-size: 20px; line-height: 120%; font-family: helvetica; - z-index: 300; - text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1); + z-index: 900; + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ + display: inline-block; + background-color: transparent; + transition: all 400ms ease-in-out; +} + section:hover { + box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); border-radius: 15px 15px 15px 15px; + transition: all 400ms ease-in-out; + } +} + sectionintro { + display: block; + padding-left: 3%; + padding-right: 3%; + padding-bottom: 7%; + padding-top: 7%; + margin-top: 2%; + margin-bottom: 2%; + margin-left: 2%; + margin-right: 2%; + font-family: helvetica; + text-align: left; + color: transparent; + font-weight: 500; + font-size: 20px; + line-height: 120%; + font-family: helvetica; + z-index: 900; + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ display: inline-block; background-color: transparent; box-shadow: 0 1px 10px 0px black, 0 0 30px 0px black, 0px -10px 28px rgba(255, 255, 255, 1), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); - transition: all 300ms ease-in-out; + transition: all 400ms ease-in-out; +} + sectionintro:hover { + color: transparent; + background-color: transparent; + z-index: 300; + border-radius: 15px 15px 15px 15px; + transition: all 400ms ease-in-out; + /*mix-blend-mode: hard-light;*/ } sectionvertical { display: none; @@ -1503,6 +1803,44 @@ h7vertical { display: none; } + .footnote-back{ + color: transparent; + text-indent: 0%; + padding-left: 10%; + padding-right: 10%; + padding-bottom: 10%; + padding-top: 10%; + text-align: right; + color: transparent; + font-weight: 500; + font-size: 20px; + line-height: 120%; + font-family: helvetica; + z-index: 300; + position: relative; + display: inline-block; + /*text-shadow: 0px 0px 1px rgba(0, 0, 0, 0.78), 0px 0px 19px rgba(255, 255, 255, 1);*/ + border-radius: 100px 100px 100px 100px; + background-color: transparent; + transition: all 400ms ease-in-out; + } + .footnote-back:hover{ + transition: all 400ms ease-in-out; + color: black; + box-shadow: 0 1px 5px 0px rgba(0, 0, 0, 0.5), 0 0 30px 0px rgba(0, 0, 0, 0.7), 0px -10px 25px rgba(255, 255, 255, 0.5), inset 0 0px 10px #000000, inset 0px 10px 10px rgba(255, 255, 255, 1); + /*mix-blend-mode: hard-light;*/ +} + } + + } + +@media only screen and (max-width: 1000px) { + body { + columns: 1 auto; + } + .response { + display: none; + } @media only screen and (max-width: 600px) { body { @@ -1525,8 +1863,6 @@ display: none; } } - - } @@ -1549,7 +1885,7 @@ ‹button›Previous‹/button› --> - -

    ‹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›

    +‹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›

    @@ -1605,9 +1938,8 @@ ‹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›

    +‹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›

    @@ -1615,14 +1947,14 @@

    ‹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› +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›

    -

    ‹paragraph›I love ‹link›MOPlanguage‹/link›.. +

    ‹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. +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› +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. @@ -1631,7 +1963,6 @@ Words create. Words do not just describe, they are gestures confirming and produ 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. @@ -1656,11 +1987,9 @@ The unquestioned way she described my body made my body feel – totally, fully ‹/quote› ‹/paragraph› -


    -
    Broken Image‹image›This image may contain: a cunt‹/image› +
    ‹image›This image may contain: a cunt‹/image›
    -

    ‹paragraph›This, however, does not mean that I feel defined. ‹quote› @@ -1675,32 +2004,28 @@ The metaphor wouldn’t allow me to ‹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›

    +

    ‹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› +
    ‹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. +‹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› 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 +While ‹link›MOPlanguage‹/link›. kills what is being described, it enlivens the speaker .‹/quote› @@ -1710,28 +2035,24 @@ Questioning tense is a ‹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›? +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› +
    ‹image› This image may contain: one person, arriving ‹/image›
    -

    ‹paragraph› ‹quote› @@ -1739,53 +2060,48 @@ By inserting the word ‘arrive’ here, I also come to think of ‘superiority, ‹/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›. +‹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›. +‹link›MOPlanguage‹/link›. that does not identify the ‹link›Hfuture‹/link› as a separate era. It needs a -‹link›MOPlanguage‹/link›. +‹link›MOPlanguage‹/link›. in which the deadening force of words – tense – is countered with presence, continuous life. We need a -‹link›MOPlanguage‹/link›. +‹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›. +‹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›. +‹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›
    -


    +‹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. -


    2. ‹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.↩

      3. -


    3. ‹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›

      4. -


    4. ‹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›

      5. -


    5. ‹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›

      6. -


    6. ‹footnote›A home care organization in the Netherlands.↩‹/footnote›

      7. +


    7. ‹footnote›West, K. 2016. Low Lights. The Life of Pablo.‹/anchor›↩‹/anchor›‹/footnote›

      8. +


    8. ‹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.‹/anchor›↩‹/anchor›

      9. +


    9. ‹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.‹/anchor›↩‹/anchor›‹/footnote›

      10. +


    10. ‹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.‹/anchor›↩‹/anchor›‹/footnote›

      11. +


    11. ‹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.‹/anchor›↩‹/anchor›‹/footnote›

      12. +


    12. ‹footnote›A home care organization in the Netherlands.‹/anchor›↩‹/anchor›‹/footnote›

    ‹/section› diff --git a/UNDECIDABILITY/fulltext.html b/UNDECIDABILITY/fulltext.html index 5fbe8d7..6e5c92b 100644 --- a/UNDECIDABILITY/fulltext.html +++ b/UNDECIDABILITY/fulltext.html @@ -79,7 +79,7 @@ h1 { display: inline-block; width: 420px; margin-left: 2%; - margin-top: 5%; + margin-top: 4.5%; border: 1px solid; box-shadow: 5px 5px blue; } @@ -87,7 +87,7 @@ h1 { #text { position: relative; - margin-top: 2.2%; + margin-top: 1.8%; columns: 420px; column-gap: 60px; @@ -148,7 +148,7 @@ h1 {
    U

    UNDECIDABILITY

    - +
    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.
    diff --git a/UNDECIDABILITY/index.html b/UNDECIDABILITY/index.html index 6288244..ea6b8ca 100644 --- a/UNDECIDABILITY/index.html +++ b/UNDECIDABILITY/index.html @@ -9,6 +9,7 @@ +