Unthinkable Thoughts (01
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
William Gibson
William Gibson Neuromancer Dedication: for Deb who made it possible with love PART ONE. CHIBA CITY BLUES 1 The sky above the port was the color of television, tuned to a dead channel. "It's not like I'm using," Case heard someone say, as he shouldered his way through the crowd around the door of the Chat. "It's like my body's developed this massive drug defi- ciency." It was a Sprawl voice and a Sprawl joke. The Chatsubo was a bar for professional expatriates; you could drink there for a week and never hear two words in Japanese. Ratz was tending bar, his prosthetic arm jerking monoto- nously as he filled a tray of glasses with draft Kirin. He saw Case and smiled, his teeth a web work of East European steel and brown decay. Case found a place at the bar, between the unlikely tan on one of Lonny Zone's whores and the crisp naval uniform of a tall African whose cheekbones were ridged with precise rows of tribal scars. "Wage was in here early, with two Joe boys," Ratz said, shoving a draft across the bar with his good hand. "Maybe some business with you, Case?" Case shrugged. The girl to his right giggled and nudged him. The bartender's smile widened. His ugliness was the stuff of legend. In an age of affordable beauty, there was something heraldic about his lack of it. The antique arm whined as he reached for another mug. It was a Russian military prosthesis, a seven-function force-feedback manipulator, cased in grubby pink plastic. -
Art [X]Smooth Images
The e itud Plen Design and Engineering in the era of Ubiquitous Computing Rich Gold © Rich Gold 1993 – 2002 Silicon Valley, California [email protected] www.richgold.org draft version 0.9 Dedicated to Marina LaPalma and Henry Goldstein The Present Press Note: You must change the following preferences in Adobe Acrobat Reader 5.0 to view this book correctly: Under Edit (or under Right Arrow above slide bar) go to Preferences. In Preferences Check all of the following: [x]Smooth Text [x]Smooth Line Art [x]Smooth Images Do not use Adobe eBook Reader to view this book. It does not allow these settings. The Plenitude Page 1 12/10/2002 TABLE OF CONTENTS: I. INTRODUCTION II. THE 4 CREATIVE HATS III. MY LIFE IN THE PLENITUDE (A) IV. SMART HOUSE? V. MY LIFE IN THE PLENITUDE (B) VI. SEVEN PATTERNS OF INNOVATION VII. MY LIFE IN THE PLENITUDE (C) VIII. THE MUSEUM AS A BOOK IX. DESIRE IN CONTEXT X. MY LIFE IN THE PLENITUDE (D) XI. THE PLENITUDE I think this is a good place to note that throughout this book I make heavy use of a font I got off the web called MOM’S TYPEWRITER. Frankly, I’ve got a font Jones and spend way too much time routing about the web looking for new fonts, not unlike how driftwood artists scour the shores looking for new bleached branches. Christoph Mueller designed MOM’S TYPEWRITER by scanning in the output of his mother’s old machine. One of its charms is that it has neither a zero nor a one. -
Ethical Consensus and the Truth of Laughter
Ethical Consensus and the Truth of Laughter Page | 1 SERIES: MORALITY AND THE MEANING OF LIFE Edited by: Professor Albert W. Musschenga (Amsterdam) Professor Paul J.M. van Tongeren (Nijmegen) Page | 2 Ethical Consensus and the Truth of Laughter The Structure of Moral Transformations Hub Zwart KOK PHAROS PUBLISHING HOUSE KAMPEN - THE NETHERLANDS 1996 Page | 3 This is the second edition of the book (revised version: July 2017) The editing of the first version of this book (1996) was subsidized by the Netherlands Organization for Scientific Research (NWO) © 1996, Kok Pharos Publishing House P.O. Box 5016, 8260 GA Kampen, the Netherlands ISBN 90 390 0412 9 / CIP ISSN 0928-2742 NUGI 631/619 Page | 4 Table of Contents Introduction: The Beginning of Moral Philosophy as a Philosophical Problem...................................................6 Chapter 1: Established Morality and Discontent .............................................................................................. 13 1. The current status of moral philosophy ................................................................................................... 13 2. The ethics of compartmentalisation and the waning of moral truth .......................................................... 16 3. The method of avoidance or the loss of problems .................................................................................... 31 4. The case of Socrates: a buffoon who had himself taken seriously ............................................................ 37 Chapter 2: Laughter as -
The Velveteen Rabbit Is Real!
SM 14011 O106b040, 4ot' MONT GRFL'vLY 03 1C "We Are The World" onto 3740 E L' UC Y Hot 100 at No.21 L o L A CHf CA 50807 See story this page, chart page 68 John Fogerty takes top spot on Pop Albums chart See page 72 Ray Charles (with Willie and friends) gets first No. 1 country single, album Sec pages 47, 48 r ri VOLUME 97 NO. 12 THE INTERNATIONAL NEWSWEEKLY OF MUSIC AND HOME ENTERTAINMENT MARCH 23, 1985/$3.50 (U.S.) Billion USA For Africa Single Industry Net Shipments Worth `45 An Out-of-the-Box Smash '84 A PEAK YEAR FOR RECORDINGS research committee. In past years, of the various configurations, it's HOROWITZ ter superstore. "We got 600 last Fri- BY IS however, the CBS estimates have believed that cassettes have contin- BY FRED GOODMAN day and sold them all within a day," NEW YORK Net shipments of re- been accurate harbingers of the ued to grab off an increasing mar- NEW YORK Consumer reaction to she says. "I ordered another 1,000 cordings by U.S. manufacturers ap- RIAA statistics. ket share, as LPs decline. When the USA For Africa's "We Are The and I finally got 500 late Tuesday. proached $4.5 billion at suggested CBS also documented for the ana- RIAA figures are released, they are World" is so strong that retailers They were gone by Wednesday." retail last year, a new high for the lysts the vigor of the prerecorded also expected to show a dramatic and CBS Records are having diffi- Mary Roberts at Houston one - industry. -
Introduction Hosted at Jokes of Repression Serguei Alex
East European Politics and Societies Volume 25 Number 4 November 2011 655-657 © 2011 SAGE Publications 10.1177/0888325411415846 Introduction http://eeps.sagepub.com hosted at Jokes of Repression http://online.sagepub.com Serguei Alex. Oushakine Princeton University n his Poetics, Aristotle famously defined comedy as “an imitation of inferior people.” IHowever, as the philosopher specified, not every defect is an object of the comic ridicule: “The laughable is an error or disgrace that does not involve pain or destruc- tion: for example, a comic mask is ugly and distorted, but it does not involve pain.”1 Aristotle’s equation of the laughable with painless mockery usefully points to several important aspects of laughter discussed in this cluster. The comic genre provides symbolic mechanisms for simultaneous description of and distancing from the dis- graceful. Yet this (comic) desire to distort and caricature is accompanied by a particu- lar process of affective translation. The disgraceful does not become a cause for disgust or recoil; instead, it acts as an object of scoffing attraction, if not attachment. In a sense, this laughter is a laughter of reconciliation, an acoustic and bodily analgesics—a socially acceptable painkiller that modifies the perception when the perceived situa- tion cannot be changed. Coming from different theoretical and disciplinary perspectives, the authors who contributed to this cluster share the same basic motivation: not unlike Aristotle, they all are interested in understanding the work of the comic outside the usual frame- work of pleasurable entertainment. Socialist comic genres emerge here as jokes of repression, which is to say, as cultural acts that both were produced by mechanisms of artistic censorship and political pressure and, simultaneously, were extremely self-reflective about the emotional proximity to the things being mocked. -
Neuromancer My Thanks to Bruce Sterling, to Lewis Shiner, to John Shirley, Helden
WILLIAM GIBSON __________________________________________ Neuromancer My thanks to Bruce Sterling, to Lewis Shiner, to John Shirley, Helden. And to Tom Maddox, the inventor of ICE. And to the others, who know why. for Deb who made it possible with love PART ONE. CHIBA CITY BLUES 1 The sky above the port was the color of television, tuned to a dead channel. "It's not like I'm using," Case heard someone say, as he shouldered his way through the crowd around the door of the Chat. "It's like my body's developed this massive drug deficiency." It was a Sprawl voice and a Sprawl joke. The Chatsubo was a bar for professional expatriates; you could drink there for a week and never hear two words in Japanese. Ratz was tending bar, his prosthetic arm jerking monotonously as he filled a tray of glasses with draft Kirin. He saw Case and smiled, his teeth a web work of East European steel and brown decay. Case found a place at the bar, between the unlikely tan on one of Lonny Zone's whores and the crisp naval uniform of a tall African whose cheekbones were ridged with Joe boys," Ratz said, shoving a draft across the bar with his good hand. "Maybe some business with you, Case?" Case shrugged. The girl to his right giggled and nudged The bartender's smile widened. His ugliness was the stuff of legend. In an age of affordable beauty, there was something heraldic about his lack of it. The antique arm whined as he reached for another mug. -
Pink Film and the Body of Pornographic Cinema in Japan
Sex Every Afternoon: Pink Film and the Body of Pornographic Cinema in Japan by Michael John Arnold A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Screen Arts and Cultures and Asian Languages and Cultures) in the University of Michigan 2015 Doctoral Committee: Professor Markus Nornes, Chair Professor Johannes von Moltke Associate Professor Daniel Chilcote Herbert Assistant Professor Damon R. Young, University of California, Berkeley © Michael John Arnold 2015 For S.K. Don’t let it bring you down. It’s only castles burning. ii Acknowledgments I cannot imagine a more fertile garden for my graduate studies than the University of Michigan. The staff, faculty, and students at The Center for Japanese Studies, The Department of Asian Languages and Cultures, and The Department of Screen Arts and Cultures made the difficult parts of this journey effortless, and turned the seemingly routine parts of the journey into an exciting challenge. Go Blue! The Department of East Asian Languages and Literatures at the University of Oregon has been a warm environment for my final stages of writing. After each weekend of solitary, theoretical wrangling, the collegiality of my students and the professionalism of my comrades would gently pull my feet back to the ground and remind me of the human dimensions of Japanese and Area Studies. Go Ducks! Conducting fieldwork in Japan can at times be a confusing and frustrating endeavor. The Rackham Graduate School, The Ito Foundation for International Education Exchange, and The Japan Foundation all gave sturdy support for my studies in Japan, both Pink-related and otherwise. -
Reading and Writing the Female Artist Book 1
Avoiding the Archetype: Reading and Writing the Female Artist Book 1 Philippa Garrard School of Design and Social Context RMIT University, Melbourne An exegesis submitted to RMIT University in partial fulfilment of the requirements of a Doctor of Philosophy (Creative Writing). Philippa Garrard 2009 1 Declaration I declare that: • except where due acknowledgement has been made, this is my work alone; • the work has not been submitted previously, in whole or in part, to qualify for another academic award; • the content of this exegesis and creative project is the result of work which has been carried out since the official commencement date of this research program; • any editorial work, paid or unpaid, carried out by a third party is acknowledged; • ethics procedures and guidelines have been followed. Signed ___________________________ Philippa Garrard 2 Acknowledgements This project was made possible by RMIT University and completed with the assistance of an Australian Postgraduate Award. Thank you to my supervisor, Dr Christine Balint, and to the supportive group within the Creative Writing stream at RMIT. Their constructive criticism and ideas have contributed greatly to this end product. Thanks also to Professor Cathy Cole and Dr Kalinda Ashton who assisted me with the final draft of my exegesis. 3 Table of Contents Abstract 5 Introduction 6 1. Dreaming of the blue flower 15 1.1 Beginnings 15 1.2 Other landscapes 17 1.3 A career not exactly real 21 2. Entrapment & Escape 25 2.1 Escape artists 25 2.2 A sour rebellion 31 3. Passive battles and active conformity 36 3.1 Always and only becoming 36 3.2 The women who paint flowers 42 4. -
DESPOTIC MIRTH: Laughter, Gender and Power in the Novels of Charlotte Brontë
DESPOTIC MIRTH: Laughter, Gender and Power in the Novels of Charlotte Brontë Harriet Briggs Thesis submitted towards the degree of Doctor of Philosophy in the School of English Literature, Language, and Linguistics, Newcastle University May 2015 Abstract This thesis contends that while Charlotte Brontë’s novels are not typically associated with humour, they are nonetheless centrally concerned with the politics of laughter. I investigate Brontë’s serious and sustained use of laughter imagery to challenge cultural constructions of femininity and subvert the gendering of rationality and emotion. In doing so I highlight how laughter’s capacity to tyrannise or marginalise underpins her disquiet about men’s abuse of power, and shapes her concern with the experience of the social outsider. Situating historical theories of humour and satire alongside those of physiognomy, physiology and mental health, my research revises current ideas both about the significance of laughter in the nineteenth-century imagination and about Brontë’s methods of characterisation. While showing how laughter features as a source of oppression throughout her writing, I also argue that she makes radically apparent its expressive power, deploying laughing and smiling faces to dispute or destabilise constraining gender ideals. Chapter One attends to cultural context circa 1830-60, providing analysis of laughter in periodicals, in philosophy and in pseudo/scientific thought, and discussing Charles Dickens and William Makepeace Thackeray in particular detail, in order to position Brontë in relation to these influential writers. Chapter Two traces the transition from despotic to empowering laughter between Brontë’s early writings and Jane Eyre, Chapter Three examines the psychology of facial expression in The Professor, and Chapter Four locates Brontë’s ultimate rejection of contemporary norms and expectations in the changing face of laughter between Shirley and Villette. -
Psaudio Copper
Issue 47 DECEMBER 4TH, 2017 Welcome to Copper #47! I'm alarmed at how rapidly 2017 is disappearing, and I'll bet I'm not alone in that. The days are long, the years are short, yadda yadda.... As mentioned last issue, we're pleased to have Professor Larry Schenbeck back. Larry's Too Much Tchaikovsky column returns in this issue with the musical question, "How Moist Is Your Music??" Alrighty, then. What are our other regular columnists up to? Well, Dan Schwartz examines what makes a bass a bass; Richard Murison begins a series on music-management software Music Brainz; Jay Jay French continues the '67 Psychedelic Shootout with a look at Are You Experienced; Duncan Taylor tells us how he captures the sounds of bluegrass in live recordings; Roy Hall remembers major parties to which he wasn't invited; Anne E. Johnson brings us Crying, an indie group that may give you '80's video game flashbacks; Woody Woodward looks at the rise and end of The Band in his best piece yet; and I remember audio industry legend Arnie Nudell, and look back at a music biz that just ain't no more. Industry News looks at Circuit City, ten years dead, but not gone yet; A. J. Hernandez concludes his series on southern Italian wines with a look at the complex history and mythology of Sicily; and Gautam Raja looks at how motorcycles and stereo systems are alike. Kinda. Copper #47 concludes with another classic audio cartoon from Charles Rodrigues, and a Parting Shot from Paul McGowan.