Dysacademia in the Ivory Towers: Performativity, Discipline, Control & Chaotically Moving Towards the Shadows of the 3Rd Educational Spaces
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Pioneering Cultural Initiatives by Esalen Centers for Theory
Esalen’s Half-Century of Pioneering Cultural Initiatives 1962 to 2012 For more information, please contact: Jane Hartford, Director of Development Center for Theory & Research and Special Projects Special Assistant to the Cofounder and Chairman Emeritus Michael Murphy Esalen Institute 1001 Bridgeway #247 Sausalito, CA 94965 415-459-5438 i Preface Most of us know Esalen mainly through public workshops advertised in the catalog. But there is another, usually quieter, Esalen that’s by invitation only: the hundreds of private initiatives sponsored now by Esalen’s Center for Theory and Research (CTR). Though not well publicized, this other Esalen has had a major impact on America and the world at large. From its programs in citizen diplomacy to its pioneering role in holistic health; from physics and philosophy to psychology, education and religion, Esalen has exercised a significant influence on our culture and society. CTR sponsors work in fields that think tanks and universities typically ignore, either because those fields are too controversial, too new, or because they fall between disciplinary silos. These initiatives have included diplomats and political leaders, such as Joseph Montville, the influential pioneer of citizen diplomacy, Jack Matlock and Arthur Hartman, former Ambassadors to the Soviet Union, and Claiborne Pell, former Chairman of the U.S. Senate’s Foreign Relations Committee; eminent Russian cultural leaders Vladimir Pozner, Sergei Kapitsa, and Victor Erofeyev; astronaut Rusty Schweickart; philosophers Jay Ogilvy, Sam -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Turning Point: a Science of Living Systems by Fritjof Capra, Ph.D
Turning Point: A Science of Living Systems by Fritjof Capra, Ph.D. In the first three decades of the 20th century, atomic and subatomic physics led to a dramatic revision of many basic concepts and ideas about reality, which brought about a profound change in our worldview; from the mechanistic world view of Descartes and Newton to a holistic and ecological view; a view that turns out to be very similar to the views and mystics of all ages and traditions. The new view of reality was by no means easy to accept for physicists at the beginning of the century. Exploration of the atomic and subatomic world brought them in contact with a strange and unexpected reality. In their struggle to grasp this new reality, scientists became painfully aware that their basic concepts, their language, and their whole way of thinking were inadequate to describe atomic phenomena. Their problems were not merely intellectual, but amounted to an intense emotional and, one could say, even existential crisis, but in the end they were rewarded with deep insights into the nature of matter and its relation to the human mind. I have come to believe that today our society as a whole finds itself in a similar crisis. We can read about its numerous manifestations every day in the news. We have high inflation and unemployment, we have an energy crisis, we have a crisis in health care, pollution and other environmental disasters, a rising wave of violence, etc.. I believe these are all different facets of one and the same crisis – a crisis of perception. -
THE NOMADIC WANDERINGS of a BAG-LADY and HER SPACE CHUMS: RE-STORYING ENVIRONMENTAL EDUCATION with FERAL FIGURATIONS by Chessa
THE NOMADIC WANDERINGS OF A BAG-LADY AND HER SPACE CHUMS: RE-STORYING ENVIRONMENTAL EDUCATION WITH FERAL FIGURATIONS by Chessa Adsit-Morris B.A., Interdisciplinary Art, University of Washington Seattle, WA, 2006. A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Curriculum Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2015 © Chessa Adsit-Morris, 2015 Abstract This thesis is a semi-autobiographical narrative, a serious fiction, in which I hold together the contradictions I have inherited and gathered (specifically in relation to the Western educational system) and learn to encounter the “Other” (real and imaginary others), including the other that is my constantly shifting/growing “self,” and attempt to find/foster nourishing alliances for transforming Environmental Education. I situated myself with new materialist theorists, specifically Donna Haraway, Rosi Braidotti, and Karen Barad, who attempt to think “through the co-constitutive materiality of human corporeality and nonhuman natures” (Alaimo & Hekman, 2008, p. 9) and provide useful tools (figurations, metaphors, and/or stories) for finding creative theoretical alternatives to the reductionist, representationalist and dualistic practices of the Western (Euro-American) metaphysics. Instead, shifting towards ecological, rhizomatic thinking and a nomadic subjectivity, I take up bag-lady storytelling, a performative new materialist methodology, a creative (re)twist of Ursula -
Home Food Production and Its Contribution
DIY FOOD: HOME FOOD PRODUCTION AND ITS CONTRIBUTION TO FOOD JUSTICE A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN’S UNVIERSITY DEPARTMENT OF MULTICULTURAL WOMEN’S AND GENDER STUDIES COLLEGE OF ARTS AND SCIENCE BY AUDREY LUNDAHL, B.A., M.A. DENTON, TEXAS MAY 2017 DEDICATION I dedicate this dissertation to food justice advocates, food workers, plants, animals, and the entire environment. May we find a way to heal the splits caused by the industrial food system. iii ACKNOWLEDGEMENTS Thank you to my chair, Dr. Agatha Beins, for deeply caring about the work of her students, offering her time and energy to help me complete this project, and always pushing me to think deeper about this project. Thank you to Dr. AnaLouise Keating for her “behind-the-scenes” feedback with the work itself and navigating the process. Thank you to Dr. Mark Kessler for always being ready with words of encouragement and for getting this project started in the methodologies course. Also thank you to my partner, my copyeditor, for giving up your time to help me complete this dissertation and for moving to Denton and supporting me in many more ways. iv ABSTRACT AUDREY LUNDAHL DIY FOOD: HOME FOOD PRODUCTION AND ITS CONTRIBUTION TO FOOD JUSTICE MAY 2016 My dissertation, “DIY Food: Home Food Production and Its Contribution to Food Justice,” explores home food production as a means to raising food consciousness. Using textual analysis, I investigated the blogs of home food producers. -
Les Défis D'un Monde Globalisé Complexics As a Meta
CONGRÈS MONDIAL POUR LA PENSÉE COMPLEXE Les défis d’un monde globalisé Paris, 8-9 décembre, 2016 Complexics as a Meta-Transdisciplinary Field Albert Bastardas-Boada * Knowledge of knowledge (epistemology of complexity) Abstract ‘Complexics’ as a meta-transdisciplinary field would bring together all contemporary efforts devoted to constructing tools, procedures, models and concepts intended for understanding and explaining the most interwoven and dynamic phenomena of reality. Our aim needs to be, as Morin says, not “to reduce complexity to simplicity, [but] to translate complexity into theory”. New mathematical and computational contributions have already continued to grow in number, thanks primarily to scholars in statistical physics and computer science. However, human complexics must be seen as multi- methodological, combining quantitative-computation methodologies and more qualitative methodologies aimed at understanding the mental and emotional world of people. Key words meta-transdisciplinarity; modelisation; qualitative methodologies. * Full Professor, Universitat de Barcelona. Department of General Linguistics; Research Group on Complexity, Communication and Sociolinguistics (Sociocomplexity); CUSC – University Centre for Sociolinguistics and Communication; UBICS – Universitat de Barcelona Institute of Complex Systems. Barcelona. Main research interests: Complexity Paradigms, Transdisciplinarity, Language Ecology, Sociology of Language, Language Contact and Language Dynamics, Language Policy and Language Planning, Language Sustainability, -
The Politics of Global Complexity: Rethinking Governance, Power and Agency (2018-2019)
Politics of Global Complexity 2018-2019 The Politics of Global Complexity: Rethinking Governance, Power and Agency (2018-2019) MA Module Code: 7PIRS025W (Level: 7, Credits: 20) Lecture and Seminar: Thursday 10.00am-1.00pm Wells Street 206 (semester 1) Module Leader: Professor David Chandler (Room: Wells Street 504, email: [email protected]) Module Summary Today the biggest challenge facing policy-makers appears to be the growing awareness of complexity. In a complex world, it is seemingly much more difficult to govern, and to act instrumentally, in order to fulfil policy goals. The module introduces students to the theoretical frameworks and practices of the politics of complexity, the debates that have been triggered, and the way that complexity understandings have developed, especially in the 2000s and 2010s. Emphasis is placed upon introducing students to some of the conceptual frameworks deployed in understanding system effects on political, economic and social life and how these enable us to rethink governance, power and agency. However, this module is also very practically orientated, it engages with how complexity is reflected in new approaches to policy-making and understanding, particularly focusing on how problems are responded to and the distinctions between preventive policy-understandings, resilience/bouncing back approaches and more transformative understandings of how to engage with a complex world. 1 Politics of Global Complexity 2018-2019 Module Aims 1. To introduce students to the theoretical frameworks and practices of the politics of complexity, the debates they have triggered, and the way that complexity approaches have developed, particularly over the last decade. 2. To consider the changing framework of discussions of governance in relation to questions of who governs, how governance is legitimated, the processes of governance and the obJects of governance. -
Deep Ecology
Deep Ecology Nature is the first ethical teacher of man. -- Peter Kropotkin 1 / 26 Deep Ecology Unless ye believe ye shall not understand. -- St Augustine I was born a thousand years ago, born in the culture of bows and arrows ... born in an age when people loved the things of nature and spoke to it as though it had a soul. -- Chief Dan George The woods were formerly temples of the deities, and even now simple country folk dedicate a tall tree to a God with the ritual of olden times; and we adore sacred groves and the very silence that reigns in them no less devoutly than images that gleam in gold and ivory. -- Pliny In the stillness of the mighty woods, man is made aware of the divine. -- Richard St Barbe Baker There is no better way to please the Buddha than to please all sentient beings. -- Ladakhi saying Ecology and spirituality are fundamentally connected, because deep ecological awareness, ultimately, is spiritual awareness. -- Fritjof Capra Every social transformation ... has rested on a new metaphysical and ideological base; or rather, upon deeper stirrings and intuitions whose rationalised expression takes the form of a new picture of the cosmos and the nature of man. -- Lewis Mumford ... there is reason to hope that the ecology-based revitalist movements of the future will seek to achieve their ends in the true Gandhian tradition. It could be that Deep Ecology, with its ethical and metaphysical preoccupations, might well develop into such a movement. -- Edward Goldsmith 2 / 26 Deep Ecology The main hope for changing humanity's present course may lie .. -
0285.1.00.Pdf
the great awakening Before you start to read this book, take this moment to think about making a donation to punctum books, an independent non-profit press, @ https://punctumbooks.com/support/ If you’re reading the e-book, you can click on the image below to go directly to our donations site. Any amount, no matter the size, is appreciated and will help us to keep our ship of fools afloat. Contri- butions from dedicated readers will also help us to keep our commons open and to cultivate new work that can’t find a welcoming port elsewhere. Our ad- venture is not possible without your support. Vive la Open Access. Fig. 1. Hieronymus Bosch, Ship of Fools (1490–1500) the great awakening: New Modes of Life amidst Capitalist Ruins. Copy- right © 2020 by the editors and authors. This work carries a Creative Commons BY-NC-SA 4.0 International license, which means that you are free to copy and redistribute the material in any medium or format, and you may also remix, transform and build upon the material, as long as you clearly attribute the work to the authors (but not in a way that suggests the authors or punctum books en- dorses you and your work), you do not use this work for commercial gain in any form whatsoever, and that for any remixing and transformation, you distribute your rebuild under the same license. http://creativecommons.org/licenses/by- nc-sa/4.0/ First published in 2020 by punctum books, Earth, Milky Way. https://punctumbooks.com ISBN-13: 978-1-953035-08-0 (print) ISBN-13: 978-1-953035-09-7 (ePDF) doi: 10.21983/P3.0285.1.00 lccn: 2020945724 Library of Congress Cataloging Data is available from the Library of Congress Copy Editing: Lucy Barnes Book Design: Vincent W.J. -
Primal Scream Juntam-Se Ao Cartaz Do Nos Alive'19
COMUNICADO DE IMPRENSA 02 / 04 / 2019 NOS apresenta dia 12 de julho PRIMAL SCREAM JUNTAM-SE AO CARTAZ DO NOS ALIVE'19 Os escoceses Primal Scream são a mais recente confirmação do NOS Alive’19. A banda liderada por Bobby Gillespie, figura incontornável da música alternativa, sobe ao Palco NOS dia 12 de julho juntando-se assim aos já anunciados Vampire Weekend, Gossip e Izal no segundo dia do festival. Com mais de 30 anos de carreira, Primal Scream trazem até ao Passeio Marítimo de Algés o novo álbum com data de lançamento previsto a 24 de maio, “Maximum Rock N Roll: The Singles”, trabalho que reúne os singles da banda desde 1986 até 2016 em dois volumes. A compilação começa com “Velocity Girl”, passando por temas dos dois primeiros álbuns como são exemplo "Ivy Ivy Ivy" e "Loaded". A banda que tinha apresentado em outubro de 2018 a mais recente compilação de singles originais do quarto álbum de 1994 com “Give Out But Don’t Give Up: The Original Memphis Recordings”, juntando-se ao lendário produtor Tom Dowd, a David Hood (baixo) e Roger Hawkins (bateria) no Ardent Studios em Memphis, está de volta às gravações e revelam algo nunca antes ouvido e uma banda que continua a surpreender. Primal Scream foi uma parte fundamental da cena indie pop dos anos 80, depois do galardoado disco "Screamadelica" vencedor do Mercury Prize em 1991, considerado um dos maiores de todos os tempos, a banda seguiu por influências de garage rock e dance music até ao último trabalho discográfico “Chaosmosis” lançado em 2016. -
Wiseman-Trowse20134950
This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Book Section Title: The singer and the song: Nick Cave and the archetypal function of the cover version Creators: Wiseman-Trowse, N. J. B. R Example citation: Wiseman-Trowse, N. J. B. (2013) The singer and the song: Nick Cave and the archetypal function oAf the cover version. In: Baker, J. (ed.) The Art of Nick Cave: New Critical Essays. Bristol: Intellect. pp. 57-84. T Version: Final draft C NhttEp://nectar.northampton.ac.uk/4950/ The singer and the song: Nick Cave and the archetypal function of the cover version Nathan Wiseman-Trowse The University of Northampton A small proscenium arch of red light bulbs framing draped crimson curtains fills the screen. It is hard to tell whether the ramshackle stage is inside or outside but it appears to be set up against a wall made of corrugated metal. All else is black. The camera cuts to a close-up of the curtains, which are parted to reveal a pale young man with crow’s nest hair wearing a sequined tuxedo and a skewed bow tie. The man holds a lit cigarette and behind him, overseeing proceedings, is a large statue of the Virgin Mary. As the man with the crow’s nest hair walks fully through the arch he opens his mouth and sings the words ‘As the snow flies, on a cold and grey Chicago morn another little baby child is born…’. The song continues with the singer alternately shuffling as if embarrassed by the attention of the camera and then holding his arms aloft in declamation or fixing the viewer with a steely gaze. -
Papers of Surrealism, Issue 8, Spring 2010 1
© Lizzie Thynne, 2010 Indirect Action: Politics and the Subversion of Identity in Claude Cahun and Marcel Moore’s Resistance to the Occupation of Jersey Lizzie Thynne Abstract This article explores how Claude Cahun and Marcel Moore translated the strategies of their artistic practice and pre-war involvement with the Surrealists and revolutionary politics into an ingenious counter-propaganda campaign against the German Occupation. Unlike some of their contemporaries such as Tristan Tzara and Louis Aragon who embraced Communist orthodoxy, the women refused to relinquish the radical relativism of their approach to gender, meaning and identity in resisting totalitarianism. Their campaign built on Cahun’s theorization of the concept of ‘indirect action’ in her 1934 essay, Place your Bets (Les paris sont ouvert), which defended surrealism in opposition to both the instrumentalization of art and myths of transcendence. An examination of Cahun’s post-war letters and the extant leaflets the women distributed in Jersey reveal how they appropriated and inverted Nazi discourse to promote defeatism through carnivalesque montage, black humour and the ludic voice of their adopted persona, the ‘Soldier without a Name.’ It is far from my intention to reproach those who left France at the time of the Occupation. But one must point out that Surrealism was entirely absent from the preoccupations of those who remained because it was no help whatsoever on an emotional or practical level in their struggles against the Nazis.1 Former dadaist and surrealist and close collaborator of André Breton, Tristan Tzara thus dismisses the idea that surrealism had any value in opposing Nazi domination.