DOCSLIB.ORG

Paradigms and Prisons: a Narrative of Translation and Transformation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

((I V >-V ,___fs,-3*-' .0 Paradigms and Prisons: A Narrative of Translation and Transformation: My Hero's Journey from "At-Risk" Youth to Teacher/Learner In a Jail Setting Warren Albert Trimble Submitted in partial fulfillment of the requirements for the degree of Master of Education Faculty of Education, Brock University St. Catharines, Ontario ©Warren Albert Trimble 2007 Abstract All life is suffering. Life is the pursuit ofhappiness. These are two foundational Buddhist dictums that, in their simplicity, I have entirely misunderstood regarding their depth, misreading them as contradictory. Indeed, my superficial interpretations led me to Thoreau's life ofquiet desperation and deep depression. We come to know and bring understanding to our lives by storying them. My own Hero's Journey, the path from my egoic selftoward the universal Self, can be understood as the resultant translations and transformations. Inevitably each of us is involved in such a story, though most are unaware of the stages along our own Hero's journey. ' Narrative honours writing as a means of knowing. The contemplative reflection allows insight into our imprisoning paradigms, beliefs, behaviours, and blind spots. My research revisits and explores nodal experiences along my Hero's Journey through 4 categories: self, society, soil, and Self. While the value of this process of narrative inquiry lay in its ability to come to know and understand one's self, perhaps its greater value is of a more universal nature. My inquiry, while adding to the body of academic educational narrative literature, may also illuminate a path to educators, students, and all interested, encouraging a response to the call of their own Hero's journey. I am a teacher/learner in a jail setting, working with youth between the ages of 12 and 18 who have committed crimes such as armed robbery, assault, rape, and murder. As this thesis follows my continual development from egoic self/teacher/learner to universal Self/Teacher/Learner, it also enables me to both consciously and unconsciously open the ways in which I expand my care, compassion, and love to work with at-risk youth. u '.t'J: .^i\v;:^ .' ' •i,i ' M-< !* ,7W>.:'< '-. ' • V"' ' -'^ ' (l'./'«.-'T..T?' -J-'H j;:-; •:.: - "NiJi*. ' v '' ';..r'-.j .1 ..!f S..^«*V, ;;;^»«X. '>S :!''v.J'i l"^ • --l*- i!^\" 3; ^ ::. Ui;^ i;H' 0* ,' ;«'";:;<«.'' / r"-:^ fc,. '• iJ^aTij: .:n<v5'Ju ' ••^.''i^.S.mi ':,: '» ,•>'> -'. ,Vi4. *,- -- jr V'.' ; WV 1 Table of Contents Abstract ii Table of Contents iii Table of Figures vi CHAPTER ONE: PARADIGMS AND PRISONS 1 self/Self 5 Society 7 Soil 9 Narrative Method 1 Stipulative Definitions 15 Limitations 19 Chapter Outlines 20 CHAPTER TWO: NARRATIVE METHOD 25 Arriving at Narrative 28 Women's Ways of Knowing 30 Writing as a Way of Knowing 33 Background to Narrative Theory 34 The Story Model 45 Conceptual and Hermeneutics as Aspects of Narrative 49 Conceptual as Story 49 Hermeneutics Within Story 51 Hermeneutics and Myth 53 Hermeneutic Foil and Historical Context 55 111 1 V ! »l '. ^? .-'.. J •...r.;r:.i{ Integrating Hermeneutics, Concqjtual and Narrative Towards a New Story .. 56 How Does One Study The self/Self. 57 What? So What? Now What? 61 CHAPTER THREE: NODAL STORIES OF TRANSLATION AND TRANSFORMATION: IN EOLATION TO self 63 Epistemology and the Elephant 64 Situation One: The story of Avery Kidd 69 Situation Two: SettHng Into my self (INFP) 79 Situation Three: Dumb to Dyslexic 92 Voices Through the Cracks 104 CHAPTER FOUR: NODAL STORIES OF TRANSLATION AND TRANSFORMATION: IN RELATION TO SOCIETY 1 12 It Takes Two To See One - Society 112 Situation One: About Society 115 Situation Two: The Golden Rule 124 Situation Three: Society's Magnetic Pull 133 CHAPTER FFVE: NODAL STORIES OF TRANSLATION AND TRANSFORMATION: IN RELATION TO SOIL 144 Situation One: Whitehead's Phase of Romance 144 Situation Two: The Problem of Whitehead's Phase of Precision 158 The Life Of Our Planet In One Year 162 Situation Three: Towards Whitehead's Phase of Generalization 172 h;r'", i «, -. o '';' ,'. r.-'/ '>: 'k I i I K.f x: ^fn . CHAPTER SIX: NODAL STORIES OF TRANSLATION AND TRANSFORMATION: IN RELATION TO Self. 179 Situation One: In The Jaws Of The Black Dog-Depression 179 Situation Two: Vipassana Meditation 192 Situation Three: Towards An Integral Spirituality 206 CHAPTER SEVEN: SUMMARY, CONCLUSION, AND IMPLICATIONS 228 Summary 228 Conclusion 234 Implications 241 References 261 Vil i. ii'j. ) <y Table of Figures Figure 1. Paradigms and Prisons. (Warren Albert Trimble, 2003) 2 Figure 2. Comparative stipulative terminology 44 Figure 3. Drake's story model 46 Figure 4. Kohlberg's stages of moral development 75 Figure 5. Maslow's hierarchy of human needs 81 Figure 6. Comparative temperament terminology 85 Figure 7. Voices through the cracks 109 Figures. Loevinger's stages of ego development 114 Figure 9. Buscaglia's qualities essential to a loving relationship and qualities destructive to a loving relationship 122 Figure 10. The Golden rule throughout various traditions 127 Figure 11. Gebser's structures in cultural development 138 Figure 12. The four paths of Yoga 183 Figure 13. Dabrowski's theory of positive disintegration 216 Figure 14. Fowler's theory of stages of faith 219 Figure 15. A theoretical integration of Wilber's concepts and 2 Eastern traditions 224 Figure 16a. A hierarchical integration of developmental levels 254 Figure 16b. A hierarchical integration of developmental levels 255 Figure 16c. A hierarchical integration of developmental levels 256 VI , I./'.: 1 1 .\ '..-.M'H -' .i^Un':' j! , '::^.^K>^H ?; ;::! ,* > .i-\ i> ni CHAPTER ONE: PARADIGMS AND PRISONS What follows infigure 7 is a poem that I wrote specifically as an overview of this thesis. I place it here, as an invitation and tool for the reader to better understand the way in which I typically communicate the meanings of my experiences. "Paradigms and Prisons" is an introduction to the stories chosen for this project. At first glance, those two words may seem interchangeable. However, they also relate directly to each other as almost all paradigms, or belief systems, create boundaries, or prisons, for our behaviours. A third aspect to this coupling of words is that I work as an educator within a prison setting, dealing with both paradigms and prisons on both a physical and a conceptual level daily. I hope you can appreciate and enjoy the meanings, both the overt and the covert, of this poetic arrangement as the first steps together on my Hero's journey of the self/Self. The Buddha said "All life is suffering," and that "Life is the pursuit ofhappiness." According to Thomas Moore, our lives generally lack meaning as we "hunger for spirituality" (1992, p. xvi). He states that the most fi-equently heard psychological predicament of our time is the feeling of "emptiness." We suffer fi-om this emptiness. And the suffering is perpetuated every time we try to fill it. We try to be soothed or satisfied by eating food, buying things, seeking entertainment, but doing so exploits our confusion and our disillusionment. The more we seek this satisfaction, the greater is our potential for disappointment and disenchantment. The resultant disconnect from feeding one's self leaves us spiritually hungry along a path of self-indulgence rather than one of self-transformation. We want the quick fix, a silver bullet, rather than a clearer understanding of the work entailed in transforming one's self. Consequently, the less we ' i '.' I'.f. :•"! ^1 .'''i„-i'i : "'i. > ii- 'I U*>---'.: ^ »f ,„' (~. ' * ,r.; '...ii'., -'• ''.,"' ^, ,, , ,;t ''^>:il. ^ -v. T -I^L 'I'T:. „/ rjr-M'i-i-ftt '••^. .-'.f--' '"•! . fj:. ' vVf ' - ' i' " ."<?,• ":i .i.o '.:;;-. -* ^' 1 . r^ ;. >;; L.« '.( Well here I am with open upward hand Shoulders to ears , ;,,, my Trying to figure out who it is, this me While breaking shackles of life long fears Looking forward and back at the future and past Inward and outward my biography While moving toward a Future that only I can create and conceive There are paradigms and prisons With bars of iron and bars of gold I want to search them out Find what it is in me they hold There's a self we know and one we don't One a construct over all time The other based on illusions perceived Dividing everything into yours and mine Oh and there are two questions that occur to me Are we evolution or divinity? And then there's love and what does it mean, yeah Find one in faith and two in a better me, a better we It's in my mind this concept of time There's only now The present is my gift I open up and find I want to give out ^ All of this is ours if we wish Reflecting with open heart and open eyes This love search can help With a more meaningful and richer life Oh and there are two questions that occur to me... Figure 1. Paradigms and Prisons. (Warren Albert Trimble, 2003) , '<:A '' •i:i,- - >.;*. H ..,;{ (i;, . !*< '' t- • ' '\ , ; 'X ' * . :;;» :* V'it: E ivi. ;r:'.V S .- :ii I •>;-«, . ••«> ^t-' '.. , /y- ^' r'' ..4: = i»< V'»* S know of our paradigms, those created by our egoic self, our society and the soil/ecology, the less we are able to connect with and transform to our true Self. Initially, I labeled these divisions ego, everyone and environment. After hearing a lecture by Satish Kumar in 2002 and reading his book You are therefore I am (2002), I altered my paradigm. Kumar's Chapter 1 1 is titled "Soil, Soul, Society" (p. 74). From his lecture and chapter heading I renamed my own trilogy, self/Self Society and Soil.
Recommended publications
  • Michael Mcdermott

    Michael Mcdermott

    LANDSCAPES AND THE MACHINE: ADDRESSING WICKED VALUATION PROBLEMS WHEN NORTH, SOUTH, EAST AND WEST MEET A thesis submitted in fulfillment of the requirements for the award of the degree Doctor of Philosophy by Michael McDermott Faculty of Design, Architecture and Building University of Technology, Sydney Supervisors: Associate Professor Jason Prior and Professor Spike Boydell 2015 Landscapes and the Machine: Addressing Wicked Valuation Problems when North, South, East and West Meet. i ABSTRACT This thesis is about engaging with the dynamic relationship between “landscapes”, “land tenure”, and the “machine”. The first term can be so broad as to mean every process and thing encountered, the second means the way that land is held by a person or group of persons, and the third means things both put together and used by humans to fulfil their wants and needs from the landscape. As a professional valuer I have been traditionally trained to engage at arms-length with the normative behaviour of persons or groups at the intersection of these three concepts, wherein those people and groups were willing but not compelled to engage. Such traditional valuation approaches are increasingly recognised as being insufficient to address wicked valuation problems of the diverse peoples and groups that inhabit the globe from North, South, East to West. This thesis develops a means of engaging with these wicked valuation problems in a suitably knowledgeable and prudent way. To do so the thesis adopts an exploratory approach guided by Whitehead’s process philosophy injunction of a creative advance into novelty. This approach is enacted through a range of data collection and analysis methods.
  • Mr Trumble.Pdf

    Mr Trumble.Pdf

    REVIEW OF EXHIBITIONS AND PUBLIC PROGRAMS AT THE NATIONAL MUSEUM OF AUSTRALIA SUBMISSION BY ANGUS TRUMBLE I wish to make the following submission in connection with DCITA’s 2003 Review of Exhibitions and Public Programs at the National Museum of Australia, Canberra. My thoughts about the NMA are largely the product of having for many years visited dozens museums all over the world, either out of interest or through my work as Curator of European Art at the Art Gallery of South Australia in Adelaide (1996 to 2001). However, I should also make it clear that I have had no professional contact with the NMA staff other than as an ordinary visitor, and it is in that capacity, not so much as an art museum curator, that I wish to comment on the building and aspects of the display, which I have studied carefully in the course of five visits in February and March this year. Despite the robust nature of many of my criticisms, I should say that I welcome the long-awaited arrival of the NMA. I believe it has a vital role to play in the cultural life of the nation, and the many problems that it must now solve are no more than temporary setbacks. None, apart from the terrible building, is insoluble, and even the building can be improved, I think, beyond measure. The architecture The design of the new NMA building is very poor and will not, I think, serve the long-term exhibition needs of the NMA. Nor will it open up new possibilities for public programming in the long term.
  • Not Even Past NOT EVEN PAST

    Not Even Past NOT EVEN PAST

    The past is never dead. It's not even past NOT EVEN PAST Search the site ... Of How a Hopi Ancient Word Became a Famous Experimental Film Like 65 Tweet by Montserrat Madariaga The theater is at its full capacity. The musicians are in place as the orchestra conductor starts to wave his arms in time with the image on the screen. There, little red dots emerge from a black background. They slowly widen and turn into capital letters: The word KOYAANISQATSI takes over. Keyboard notes evoking a church organ underline the mystery of the term and suit the dramatic hard-edged-typography. It is a Friday afternoon, February 23, 2018, in the Bass Concert Hall of the Texas Performing Art Center of The University of Texas, at Austin. The occasion is the screening of Godfrey Reggio’s 1982 lm, accompanied by the live performance of The Philip Glass Ensemble playing its original score music. Featured for the rst time to an ample public in the 1982 New York Film Festival, Koyaanisqatsi is an audiovisual art piece without dialogue or voiceover, deprived of any explicit narrative, that is nowadays a cult classic. It opens with a shot of the Holy Ghost Panel in Horseshoe Canyon, Utah, a human trace dated between 400 AD and 1100 AD. Then, footage of imposing natural landscapes and wildlife of the United States’ Southwest is followed by images of urban spaces: construction, crowded streets, demolitions, technology of the time, and so on. The collage escalates in its pace along with the music: utes, clarinet, trombone, viola, tuba, keyboards and vocals from time to time repeat the word “koyaanisqatsi” in a low pitched ceremonial tone that creates an apocalyptic atmosphere.
  • GODFREY REGGIO (Director, Koyaanisqatsi) Is a Pioneer of a Film Form That Creates Poetic Images of Extraordinary Emotive Impact

    GODFREY REGGIO (Director, Koyaanisqatsi) Is a Pioneer of a Film Form That Creates Poetic Images of Extraordinary Emotive Impact

    GODFREY REGGIO (Director, Koyaanisqatsi) is a pioneer of a film form that creates poetic images of extraordinary emotive impact. Reggio is best known for the Qatsi Trilogy – essays of image and music, speechless narrations which question the world in which we live. Born in New Orleans in 1940, Reggio entered the Christian Brothers, a Roman Catholic Pontifical Order, at age 14 and remained as a monk until 1968. In 1963, he co-founded Young Citizens for Action, a community organization of juvenile street gangs. Reggio co-founded La Clinica de la Gente and La Gente, a community organizing project in Northern New Mexico’s barrios. In 1972, he co- founded the Institute for Regional Education in Santa Fe, a nonprofit organization focused on media, the arts, community organization and research. In collaboration with the New Mexico Chapter of the American Civil Liberties Union, Reggio co- organized a multimedia public interest campaign on the invasion of privacy and the use of technology to control behavior. Reggio’s collaboration on Koyaanisqatsi with Ron Fricke (Director of Photography) and Philip Glass (Composer) gained an international audience, critical acclaim and launched the Qatsi Trilogy. Koyaanisqatsi has been played live over 200 times in venues worldwide. Reggio’s collaborations with Philip Glass, include: Koyaanisqatsi (1982), Powaqqatsi (1988), Naqoyqatsi (2002), Anima Mundi (1992), Evidence (1995) and Visitors (2013). In 1993, Reggio was invited by Luciano Benetton and Oliviero Toscani to develop a new school “to smell the future” – an enterprise of exploration and production in the arts, technology and mass media. Called Fabrica – Futuro Presente, it opened in the middle of the ‘90s in Treviso, Italy.
  • Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM

    Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM

    Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. CENTER FOR THE ARTS AT VIRGINIA TECH presents POWAQQATSI LIFE IN TRANSFORMATION The CANNON GROUP INC. A FRANCIS FORD COPPOLA and GEORGE LUCAS Presentation Music by Directed by PHILIP GLASS GODFREY REGGIO Photography by Edited by GRAHAM BERRY IRIS CAHN/ ALTON WALPOLE LEONIDAS ZOURDOUMIS Performed by PHILIP GLASS and the PHILIP GLASS ENSEMBLE conducted by Michael Riesman with the Blacksburg Children’s Chorale Patrice Yearwood, artistic director PHILIP GLASS ENSEMBLE Philip Glass, Lisa Bielawa, Dan Dryden, Stephen Erb, Jon Gibson, Michael Riesman, Mick Rossi, Andrew Sterman, David Crowell Guest Musicians: Ted Baker, Frank Cassara, Nelson Padgett, Yousif Sheronick The call to prayer in tonight’s performance is given by Dr. Khaled Gad Music Director MICHAEL RIESMAN Sound Design by Kurt Munkacsi Film Executive Producers MENAHEM GOLAN and YORAM GLOBUS Film Produced by MEL LAWRENCE, GODFREY REGGIO and LAWRENCE TAUB Production Management POMEGRANATE ARTS Linda Brumbach, Producer POWAQQATSI runs approximately 102 minutes and will be performed without intermission. SUBJECT TO CHANGE PO-WAQ-QA-TSI (from the Hopi language, powaq sorcerer + qatsi life) n. an entity, a way of life, that consumes the life forces of other beings in order to further its own life. POWAQQATSI is the second part of the Godfrey Reggio/Philip Glass QATSI TRILOGY. With a more global view than KOYAANISQATSI, Reggio and Glass’ first collaboration, POWAQQATSI, examines life on our planet, focusing on the negative transformation of land-based, human- scale societies into technologically driven, urban clones.
  • The California Tech

    The California Tech

    After reading the Just don't super special media guy, check out the regular one ... bother see page 4 THE CALIFORNIA TECH P ASADENA CALIFORNIA FRIDAY M ARCH 1998 RAINED? WE ARE. THIS ISSUE 100% CONTENT FREE Adam Villani: Media Guy: Armegeddon, Part /I With the Oscars comin g up on Monday, th e question is not whether the Acadcmy failed to nominate it. You can safely put your money on L.A . Titanic will dominate th e compet iti on, but by how mu ch it will dominate COl/fidel/tial, but of the nominees I would cheer for Th e Sweet Hereafter the competition. Looking at the nominations individually, Ithink Titanic and DOlil/ie Brasco. has a decent shot to win in each of it s 14 nominated categories except Cillematography- The sheer beauty of Martin Scorsesc's marv elous Besi AClress (Kale Winslet). Even if lhere's a huge backlash agai nslthis Kill/dun may beat out Titan ic here. Conn oisseurs shou ld check out gOO-pound gorill a of a movie, It 's still got Ed iti ng. Art Direction , Origi­ Maborosi for a movie expressed al most solely through its cinematogra­ nal Dramatic Score, Costum e, Original Song, and Sound pretty much phy_ wrapped up and in the bag. While I think the 14 nominations represen ted Ediling- Titanic wins, and is the best nominated. Erro l Morris' docu­ the peak of its popu larity, I think we shou ld expect to see repre se ntatives mentary Fast, Cheap. and Oul of COlllroi and Peter Greenaway's spec­ of this very popular and technicai ly outstandi ng film take th e podium tacu lar Th e Pillow Book were the true masterpieces of editing this year.
  • An Examination of Jerry Goldsmith's

    An Examination of Jerry Goldsmith's

    THE FORBIDDEN ZONE, ESCAPING EARTH AND TONALITY: AN EXAMINATION OF JERRY GOLDSMITH’S TWELVE-TONE SCORE FOR PLANET OF THE APES VINCENT GASSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO MAY 2019 © VINCENT GASSI, 2019 ii ABSTRACT Jerry GoldsMith’s twelve-tone score for Planet of the Apes (1968) stands apart in Hollywood’s long history of tonal scores. His extensive use of tone rows and permutations throughout the entire score helped to create the diegetic world so integral to the success of the filM. GoldsMith’s formative years prior to 1967–his training and day to day experience of writing Music for draMatic situations—were critical factors in preparing hiM to meet this challenge. A review of the research on music and eMotion, together with an analysis of GoldsMith’s methods, shows how, in 1967, he was able to create an expressive twelve-tone score which supported the narrative of the filM. The score for Planet of the Apes Marks a pivotal moment in an industry with a long-standing bias toward modernist music. iii For Mary and Bruno Gassi. The gift of music you passed on was a game-changer. iv ACKNOWLEDGEMENTS Heartfelt thanks and much love go to my aMazing wife Alison and our awesome children, Daniela, Vince Jr., and Shira, without whose unending patience and encourageMent I could do nothing. I aM ever grateful to my brother Carmen Gassi, not only for introducing me to the music of Jerry GoldsMith, but also for our ongoing conversations over the years about filM music, composers, and composition in general; I’ve learned so much.
  • The Effects of Projected Films on Singers' Expressivity in Choral

    The Effects of Projected Films on Singers' Expressivity in Choral

    THE EFFECTS OF PROJECTED FILMS ON SINGERS’ EXPRESSIVITY IN CHORAL PERFORMANCE A DISSERTATION IN Music Education And Curriculum and Instruction Presented to the faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY by DANIEL J. KEOWN BM, University of Wisconsin-Oshkosh, 2001 MM, Indiana State University, 2004 Kansas City, Missouri 2013 © 2013 DANIEL JAMES KEOWN ALL RIGHTS RESERVED THE EFFECTS OF PROJECTED FILMS ON SINGERS’ EXPRESSIVITY IN CHORAL PERFORMANCE Daniel James Keown, Candidate for the Doctor of Philosophy Degree University of Missouri-Kansas City, 2013 ABSTRACT The purpose of this study was to investigate the effects of projected film visuals on singers’ expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (N = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments. In Phase Two, a different group of university choir singers (N = 116) rehearsed and prepared both of the selected choral etudes referred to as “Doh” and “Noo.” Subsequently, these singers were organized into smaller chamber ensembles (n = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition.
  • Hofstra University Film Library Holdings

    Hofstra University Film Library Holdings

    Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987.
  • Stephanie Hemelryk Donald Is Australian Research Council Future Fellow and Professor of Comparative Film and Cultural Studies at the University of New South Wales

    Stephanie Hemelryk Donald Is Australian Research Council Future Fellow and Professor of Comparative Film and Cultural Studies at the University of New South Wales

    P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 Stephanie Hemelryk Donald is Australian Research Council Future Fellow and Professor of Comparative Film and Cultural Studies at the University of New South Wales. Christoph Lindner is Professor of Media and Culture and Director of the Amsterdam School for Cultural Analysis at the University of Amsterdam. P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 Inert Cities Globalization, Mobility and Suspension in Visual Culture Edited by Stephanie Hemelryk Donald and Christoph Lindner P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 Published in 2015 by I.B.Tauris & Co. Ltd 6SalemRoad,LondonW24BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Copyright © Stephanie Hemelryk Donald and Christoph Lindner, 2014 The right of contributors to be identifed as the authors of this work has been asserted by authors in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of
  • Einstein on the Beach an Opera in Four Acts ROBERT WILSON & PHILIP GLASS

    Einstein on the Beach an Opera in Four Acts ROBERT WILSON & PHILIP GLASS

    CAL PERFORMANCES PRESENTS PROGRAM Friday, October 26, 2012, 6pm Saturday, October 27, 2012, 5pm Sunday, October 28, 2012, 3pm Zellerbach Hall Einstein on the Beach An Opera in Four Acts ROBERT WILSON & PHILIP GLASS Choreography by Lucinda Childs with Helga Davis Kate Moran Jennifer Koh Spoken Text Jansch Lucie Christopher Knowles/Samuel M. Johnson/Lucinda Childs with The 2012 production of Einstein on the Beach, An Opera in Four Acts was commissioned by: The Lucinda Childs Dance Company Cal Performances; BAM; the Barbican, London; Luminato, Toronto Festival of Arts and Creativity; De Nederlandse Opera/The Amsterdam Music Theatre; Opéra et Orchestre Music Performed by National de Montpellier Languedoc-Rousillon; and University Musical Society of the The Philip Glass Ensemble University of Michigan. Michael Riesman, Conductor World Premiere: March 16, 2012, Montpellier, France. Music/Lyrics Direction/Set and Light Design Originally produced in 1976 by the Byrd Hoffman Foundation. Philip Glass Robert Wilson Lighting Sound Costumes Hair/Makeup Urs Schönebaum Kurt Munkasci Carlos Soto Campbell Young Associates: Because Einstein on the Beach is performed without intermission, the audience is invited to leave Luc Verschueren and re-enter the auditorium quietly, as desired. Café Zellerbach will be open for your dining pleasure, serving supper until 8pm and smaller bites, spirits, and refreshments thereafter. The Café is located on the mezzanine level in the lobby. Associate Producer Associate Producer Senior Tour Manager Production Manager Kaleb Kilkenny Alisa E. Regas Pat Kirby Marc Warren Music Director Co-Director Directing Associate Michael Riesman Ann-Christin Rommen Charles Otte These performances are made possible, in part, by the National Endowment for the Arts, and by Patron Sponsors Louise Gund, Liz and Greg Lutz, Patrick McCabe, and Peter Washburn.
  • ~Lag(8Ill BAM 2000 Spring Season Is Sponsored by B~ ~L1 Snri Og Sp;:),On

    ~Lag(8Ill BAM 2000 Spring Season Is Sponsored by B~ ~L1 Snri Og Sp;:),On

    March 2000 Brooklyn Academy of Music 2000 Spring Season BAMcinematek Brooklyn Philharmonic 651 ARTS Saint Clair Cemin, L'lntuition de L'lnstant, 1995 ~lAG(8Ill BAM 2000 Spring Season is sponsored by B~ ~L1 Snri og Sp;:),on Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Producer in association with Pomegranate Arts Inc. presents Philip on Film Running times: BAM Howard Gi lman Opera House Anima Mundi & Anima Mundi & Music for Film March 21, 2000, at 7:30pm Music for Film will Koyaanisqatsi/Live! March 22, 2000, at 7:30pm run for approximately Powaqqatsi/Live! March 23 & 24, 2000, at 7:30pm 90 minutes, with one Dracula: The Music and Film March 25, 2000, at 7:30pm & 20-minute intermis­ March 26, 2000, at 3pm sion; Koyaanisqatsi will run for approxi­ Original Music by Philip Glass mately 85 minutes, with no intermission; Performed by Philip Glass Powaqqatsi will run and the Philip Glass Ensemble: Lisa Bielawa , Dan Dryden , for approximately Jon Gibson , Philip Glass , Richard E. Peck Jr., Michael Riesman , 102 minutes, with no Eleanor Sandresky, & Andrew Sterman intermission; Dracula: The Music and Film with guest musicians will run for approxi­ Frank Cassara , Alexandra Montano, Valerie Naranjo, & Peter Stewart mately 80 minutes, with no intermission. Sound Design Kurt Munkacsi Musical Director Michael Riesman Production Management Pomegranate Arts, Inc. 17 Philip on F;ilm For the Philip Glass Production Stage Manager Doug Witney Ensemble Live Monitor Mix Steve Erb Assistant Sound Engineer Kevin Reilly Music Production Euphorbia Productions Music Publishing Dunvagen Music Publishing Press Representation Annie Ohayon Media Philip Glass and the Ensemble wish to thank Ladd Temple, Uoyd Trammel, John Fera, and the Peavey Corporation for their generous support and the use of the DPMC8X keyboards.