#Nuo theater

[sinoheritage]

Nuo theatre 傩戏 masks from Guizhou province, China. 🎭🎨

(Not to be confused with “Noh theatre” from Japan, which traces its origin to the Chinese Nuo)

[moononmyfloor]

Riverside Code at Qingming Festival (清明上河图密码) : Nuo Opera

In the very ep 1 of the show you see our main leads going to watch a Nuo Stage Play, that is meant for exorcism of evil spirits. All the elaborate giant wooden masks, that are a noticeable feature of this opera, have been inspired by Song Dynasty Paintings from Beijing Palace Museum.

(The image descriptions don't specify about the demons in them, they all just say "The Great Nuo", "the painting can be found in museum" "this demon has a straw hat and long nails" etc)

The duo below are super cute to me! One demon has a big drum on his back and the other demon follows behind him with drumsticks.

And last but not least, the two most characters of ep 1, Two-Headed Turtle Demon, Dustpan Demon

You can see some more additional tumblr posts on Nuo theater I found below.

.

Riverside Code at Qingming Festival ( 清明上河图密码 ) : Qīngmíng shànghé tú mìmǎ Cultural Meta Masterpost

[nato-ua-alen]

📃 Marine Commander Serhiy Volyna wrote a letter to Pope Francis asking to save people from Mariupol. The major emphasizes that now in Mariupol there is a real hell on earth. Both women and children are still hiding from bombs and missiles in shelters. 🖋️ "Help save them. After the bombing of the drama theater, no one has faith in the Russian occupiers. Bring the truth to the world, evacuate people and save their lives from the hands of Satan, who wants to burn all living things." Pontiff Francis has the opportunity to use his influence on the world community and help Ukraine. This would be natural behavior for a Christian leader. 📃 Jūrų pėstininkų vadas Serhijus Volyna parašė laišką popiežiui Pranciškui, prašydamas išgelbėti žmones iš Mariupolio. Majoras pabrėžia, kad dabar Mariupolyje – tikras pragaras žemėje. Tiek moterys, tiek vaikai vis dar slepiasi nuo bombų ir raketų prieglaudose. 🖋️ "Padėkite juos išgelbėti. Po dramos teatro bombardavimo niekas netiki rusų okupantais. Atneškite tiesą pasauliui, evakuokite žmones ir išgelbėkite jų gyvybes iš šėtono rankų, kurios nori sudeginti visa, kas gyva. “ Popiežius Pranciškus turi galimybę panaudoti savo įtaką pasaulio bendruomenei ir padėti Ukrainai. Tai būtų natūralus krikščionio lyderio elgesys. 📃 Командир морпіхів Сергій Волина написав листа Папі Римському Франциску — просить врятувати людей з Маріуполя. Майор наголошує: зараз у Маріуполі — справжнє пекло на землі. Від бомб і ракет в укриттях досі ховаються і жінки, і діти. 🖋️ "Допоможіть врятувати їх. Після бомбардування драмтеатру вже ні в кого не лишилося віри російським окупантам. Донесіть світу правду, евакуюйте людей та врятуйте їхні життя від рук сатани, який хоче спалити все живе". Понтифік Франциск має змо��у скористатися впливом на світову спільноту і допомогти Україні. Це було би природною поведінкою для християнського лідера. #paparome #italy #UkrainiansWillResist #Ukrainians #vatican #vaticano #vatikan #nato_ua_alen🇺🇦🇱🇹🇺🇸 (at Vaticano, Roma) https://www.instagram.com/p/CciYWVRKLOm/?igshid=NGJjMDIxMWI=

[nuoxitheater]

傩戏。Nuo Opera

While there is little media surrounding this unique and beautiful culture, what we can gather is nothing short of breathtaking. Nuo theater began centuries ago in southern China as a ritualistic performance, thought to cast away negative energy and bring good fortune to their villages. It served not only as a staple tradition in early southern Chinese history, but a necessary step in keeping everything within these communities running smoothly. Nuo theater spread to different parts of China, but rarely stuck. As time went on, dynasties rose and fell, and the exchanging of new ideas became easier than ever before, Nuo theater even lost a bit of its luster with those whose ancestors created it. What was once an essential practice was no longer seen in such a light, and the performances were continued simply as to retain the traditions of their ancestors. The performances of Nuo theater/dance/opera live on today, with many live performances being offered by the native Yi and Tujia people of southern China.

When watching a Nuo theater piece, you will first notice the striking masks worn by the actors. These masks were meticulously handcrafted by ancient artisans using willow wood. Willow wood is well known for being resilient, easy to carve into, and aesthetically pleasing, which made it the obvious choice for the craft. The masks were seen as extremely holy objects, rumored to have the souls of ancient spirits residing inside of them… ~Spooky!~ After each performance, these masks were literally treated as if they preserved the spirits of ancestors, or sometimes even gods. Unfortunately, women were forbidden from touching these masks, which in turn, made Nuo theater pretty exclusively performed by men. These shows were important to the Nuo Folk Religion of these southern Chinese communities.

There were very specific set rules as to how these masks would be crafted. “Generally speaking, the good [character masks]* are stately and dignified while the bad are ferocious… Eyebrows should be like a line for woman, an arrow for young generals and like fiery flames for military generals. The changes of facial expressions and decorations show[ed]* the [nature of these]* characters... They may be brave, ferocious, powerful, composed, arrogant, sly, tender, or amiable. Decorations include butterflies, grass, flowers, and ivies familiar to the locals...” (2) In other words, the expressions and decorations of these characters and masks were vital to telling the story that they were a part of.

The times in which Nuo theater is/was permitted to be performed also changed over time: “The only two occasions for the performance of Nuo Drama are at Chinese New Year and at the middle of the 7th moon when rice tassels...” (2) It is said that these shows could last as long as TWELVE DAYS! Trips to witness these rituals rose in popularity over the years, with many visitors enthusiastically making their pilgrimage to these small southern Chinese towns and cities.

So, where can you find Nuo theater today? Unfortunately, with the rise of the PRC (People’s Republic of China, 中华人民共和国) and the Chinese Communist party, finding these shows is harder than ever. The minorities of Southern China who are accredited with preserving this art form have been severely oppressed and silenced by the country’s government for the past one hundred years or so. The Chinese Communist Party, who runs on an atheist belief system, has generally discouraged traditional ceremonies and practices in the hopes of abolishing religion.

Over the last decade or so, scholars have once again become interested in the history of Nuo theater/opera. Surprisingly, this has caused the Chinese government to recognize the Yi and Tujia peoples as distinguished ethnic groups; and the Nuo Folk Religion as a legitimate belief system.

[aion-rsa]

Mulan 2020 vs. Mulan 1998: The Differences & Similarities

https://ift.tt/eA8V8J

This article contains spoilers for Disney’s MULAN. You can read our spoiler-free review of the film here.

When Disney’s Mulan came out in 1998, American viewers had not yet seen Crouching Tiger, Hidden Dragon (2000), which was the first big wuxia hit film for American audiences. The animated feature takes its inspiration from a Chinese legend, but the film fits more into the traditional animated Disney Princess mold—and, with Eddie Murphy playing Mulan’s sidekick Mushu, the resulting film felt very American, despite its Chinese setting. Disney’s 2020 live-action film continues in the tradition of its other live-action remakes, but also leans into the legend behind the original animated feature—and draws on Chinese filmmaking to create something that honors the cartoon while standing solidly on its own. Here are all of the differences and similarities between the 1998 animated Disney Mulan and the 2020 live-action adaptation.

Swapping Genres

In the previous Disney live-action remakes I have seen (Beauty and the Beast and Aladdin), the film stuck closely to the original animated feature. While both added complexities to the characters and subplots, which helped to justify their slightly-long runtimes (and got rid of some of the handwavium that viewers accept in animated features), the resulting features felt very much like the classic animated film. 

Disney’s Mulan 2020 heads in the opposite direction. Rather than keeping the film as close to the original as possible, the creative team seems to have asked what would happen if the original Mulan had come to theaters after audiences were already familiar with the conceits of the wuxia film genre. While none of the writers or director are of Chinese descent, they lean heavily on martial arts epics, especially those in the wire-fu tradition, which allows their actors to fly (or something close to it). The fight choreography (credited to Nuo Sun, Shane Yan, and Heidi Moneymaker) uses martial arts acrobatics that nod to House of Flying Daggers and Hero more than any Western film. That the cast includes martial arts film luminaries Jet Li (the Emperor), Donnie Yen (Commander Tung), and Yifei Liu, who stars as Mulan, shows a clear consciousness of the creative team that they were investing in making their film as much a martial arts epic as a remake of an animated classic. (It’s also notable that while the animated Mulan is based on a story by Robert D. San Souci, which was released as a picture book the same year the film came out, the live-action Mulan credits its source material as “The Ballad of Mulan,” the legend originally recorded in the sixth century.)

The commitment to martial arts epic is also clear in the rating. Like most of the animated features of the 1990s, Mulan had a G rating, which means the violence, while implied, is off camera. The burned village the soldiers encounter has no survivors—but it also has no bodies. The most graphic moment in the animated film is when one of the soldiers presents Captain Shang with the helmet of his father, showing that General Shang has been killed in action. In the live action Mulan, there’s no shying away from combat. People are pierced by arrows. In a beautifully well-shot combat scene, boulders smeared with burning pitch are hurled into the shield walls of the imperial soldiers, devastating them. Battlefields are strewn with bodies, and while there’s not a ton of gore, it’s these combat sequences that earn the live-action film its PG-13 rating. (One tense moment at the end of the film shows a soldier with several arrows sticking out of his hip; a moment later, it’s revealed that these arrows are in his quiver, and he’s safe. It’s the kind of humor that might not play well with a younger audience, but the bait-and-switch works beautifully inside the context of a martial arts film.)

While there are scenes in the live-action version that quote the original film verbatim (Mulan’s father’s scolding when she protests that he’ll die if he goes to fight in the army, for example), tthers are familiar, but changed: For example, the scene in which Mulan takes a bath in the lake near the camp and runs into a fellow soldier and works to hide her body beneath the water’s surface, is adjusted to be less humorous and more tense. Here, when Liu’s Mulan encounters Honghui (played by Yoson An), she stays faced away from him, and it’s clear to adult audience members that she can’t turn around, because just the slope of her shoulders would give her away.

There’s also a nice nod to the animated film when a beautifully garmented Ming Na Wen, who voiced Mulan in the animated film, presents Liu’s Mulan to the Emperor.

Mulan the Strategist vs. Mulan the Warrior

In the animated feature, Mulan is no warrior. She’s as horrible in combat, at the beginning of the film, as the majority of her peer recruits. The training montage they receive (to the tune of Donnie Osmond’s performance of “I’ll Make a Man out of You”) shows them moving from complete disasters as soldiers to a competent fighting force. Mulan, one of the weakest and smallest among them, is nearly sent home in the middle of the song, until she makes a realization about one of the training exercises. In one of the defining moments for her character, she successfully retrieves an arrow from the top of a pole, using weights representing strength and discipline as a tool to help her achieve the goal (rather than allowing the weights to drag her down). A similar moment in Captain America: The First Avenger takes place when the physically weak military recruit Steve Rogers realizes that, instead of climbing a pole, he can take out the pin at the bottom, sending the pole falling to the ground. While Mulan’s strategy still requires actual strength, it’s her intelligence that allows her to defeat the obstacle. 

Live-action Mulan, on the other hand, is warned from the beginning of the film that she has too much chi for a girl. While there are deeper definitions of chi/qi/ki as described in philosophy and martial arts, in the context of the film, chi seems to represent a warrior’s energy, one that society decides that the greatest male warriors should have and that women should not. Though Mulan’s father indulges her by teaching her martial arts, and though she is clearly gifted at stunts both dramatic and small (once catching falling teacups in a stunt reminiscent of a scene in Crouching Tiger, Hidden Dragon), ultimately, her wellspring of chi will bring dishonor to her family. As a soldier, she nearly forgets that she can reveal her chi: she’s posing as a man, where her chi will be praised and valued rather than derided. When Mulan faces the challenge to make it to the top of a mountain (rather than a pole) with two buckets of water (rather than two weights), she draws on her inner chi to get through the challenge. It is this chi, this formidable skill as a warrior, that makes the live-action film’s Mulan stand apart from her animated counterpart.

She does retain her intelligence in the live-action film; the scene where she defeats the opposing army by causing an avalanche is more realistic (and possibly even cleverer) in the live-action version. But it’s ultimately her reputation as the best warrior in her unit that enables her to lead, and earns their respect, despite her gender.

But Where’s Mushu in Mulan?

The relationship between Mushu, and the parallel between Mulan’s quest to earn respect for her true self and Mushu’s desire to regain his place among the honored guardians of the Fa family, is a central part of the animated film’s story. But Mushu also exists primarily for comic relief (and possibly to sell stuffed animals and lunch boxes). Nominally there to help Mulan succeed, Mushu is frequently the reason Mulan gets into trouble. He and a lucky cricket are the ones to set off cannons, alerting the enemy army to the location of the imperial soldiers. It’s Mushu’s fault that Mulan gets off on the wrong foot with many of her fellow soldiers. And while Mushu ultimately helps save the day, Mulan often rises to heroism despite, not because of, her companion.

That comic relief isn’t really needed in the more mature tone of the live action film. Mulan’s failures are her own; humor comes from her interactions with her fellow soldiers (who share names and similarities with some of the animated cast, but are ultimately less caricatured—which makes them more realistic, yet less distinct). Humor and tension both come from the audience and Mulan knowing her secret while the others don’t; at times, this is played for laughs, and at times, it heightens the drama, because the stakes are high: if Mulan’s secret is revealed, she will die.

Instead of using Mushu as a foil, the live-action Mulan converts an animal character from the animated film, Shan Yu’s hawk, to a woman who, like Mulan, has “too much” chi for her gender. Xianniang, played by Li Gong, is disparaged as a witch. She was rejected by her family, her village, her nation. The one man willing to take her in and accept her and her powers (which allow her to do far more than fight: she can shapeshift, steal other people’s forms, and direct swarms of bats) is Böri Khan, leader of the Rouran Khaganate. Böri Khan’s soldiers fear Xianniang and say they’d be better off without her, until Böri Khan promises that he is hers to command—no better, he says at another point, than a dog.

When Mulan and Xianniang first encounter each other, Xianniang sees through her disguise immediately. Accusing Mulan of being a liar, Xianniang ultimately forces Mulan to see that she must be honest, admitting her lie, to be her true self, even if it means execution by her own comrades. When Mulan has been thrown out of the army for her gender, Xianniang faces her again, urging her to join forces—Xianniang insists there is no place for women like them in a man’s world, but that together, they could change things. Once Mulan has proved Xianniang wrong, convincing her commander to entrusts her with a role of leadership, it’s Xianniang who clears a path for Mulan to become the hero that Xianniang wishes she herself had been able to become. That redemption arc has a far deeper resonance in the story: unlike Mushu, Xianniang was not being punished for her mistakes, but for simply being her true self. And unlike Mushu, Xianniang is willing to sacrifice everything so that Mulan can rise (symbolized by the phoenix, another Mushu replacement who appears in useful fashion through the film and never causes Mulan any trouble).

Trading Songs for Stunts

While many audience members were horrified to learn that the original musical numbers would be cut, there’s really no place for them in the tone of the live action film. The comical number “A Girl Worth Fighting For” is replaced by a similar conversation between Mulan and her fellow soldiers at mess. The themes from “Reflection” and “I’ll Make a Man Out of You” appear in the orchestration behind the action, blending in reasonably well with the more Chinese-influenced score.

In exchange, however, audiences get amazing stunts and martial arts sequences. Xianniang uses her sleeves as whips, and the Emperor uses hanging banners to defeat archers attacking him. (The Emperor does get to do his own fight scene, which is important because it would have been a waste to have the amazing Jet Li in the film and not allow him to fight.) Cricket, one of Mulan’s fellow soldiers and a new addition to the cast, shoots a bow behind his back, firing two arrows into enemies on either side of Mulan. Commander Tung and Mulan have a gorgeous spliced sequence of martial arts forms following a discussion about chi. And Mulan fights Böri Khan in a construction scaffold, with gorgeous cinematography that amplifies the multi-tiered combat.

Ultimately, the live-action film provides plenty of nostalgic nods to the animated feature, while digging deeper into the heritage of the legend. The resulting movie is its own original piece, building upon a strong foundation of wuxia film while remaining true to the Disney classic.

The post Mulan 2020 vs. Mulan 1998: The Differences & Similarities appeared first on Den of Geek.

from Den of Geek https://ift.tt/3h6OEpB

[hotarutranslations]

Snefel Colored!

Evening Its Ishida Ayumi(。-∀-)

 I went to eat a meal a bit ago with, Country Girls Yamaki Risa-chan!

 At that time,

I got a USJ* souvenir! ❤

  Nuo~~~!

 At USJ, a Detective Conan Real Escape Game,

“Detective Conan Escape Zero Overture”

 She went to it and from the stage, and got to listen to a fun story it seems (lol)

 Since I had not been to USJ,

 What kind of atmosphere,

What kind of world, I unfortunately had no idea

 Talking with Risa-chan, From photos,

 The magnificence was transmitted!

 I’ve thought that I want to go someday…

 That’s why for me, It made me really happy to receive a souvenir❤

 The left photo is a “Kudou Shinichi” expression The right photo is a “Amuro Toru” expression (left and right are reversed)

 …I tried to do it but I wonder if it was understood lol

 With this wonderful can can is, A character design hi-chew!!!

 It wont break!!!

 I wont open it!!!

 I wont eat it!!!

 It is something important, But when the time comes it will be delicious❤

 At the same time when I took it,

I processed it to make it brighter but,

The photos look like they’re different colors

 A bit ago I dyed my hair!

 I darkened it a little~

 I don’t really like yellow-brown hair

 Comparing myself to the CHANCE tour…!

 I surprised when I looked back on it like,

Eh! Its piercing! Lol

 (After this go and look for it please)

 Also,

 With ’14 often, I would be wearing the opposite color pink

 (After this go and look for it please (2 times))

 It was also Michishige-san’s color fufufu

 Now, “I want it to be a bit grey” and, I requested for it to be changed to that

 It may be a bit quick but…

  Engeki Joshibu

“Pharaoh no Haka ~Snake King Snefel~”

 I’m a bit conscious of it…!

 The original work of Snefel,

Beautiful, long,

White…greyish…silverish…

 Hair!

 Snefel is beautiful, so I am also attracted to the hair

 Therefore, it was ridiculous, but I tried to get closer to it

 But bleaching the hair is painful,

 Getting it as grey as possible…once?

 How it is going to be in the production, Isn’t something I know yet though…

  Yesterday we had a full reading of “Pharoah no Haka ~Snake King Snefel~”

 It was still of us sitting in a chair,

 Reading the form of the script,

 Has begun!

 I’ll do my best as Snefel

  I’ll be waiting at the theater

 The homepage is here

 See you ayumin❤

 https://ameblo.jp/morningmusume-10ki/entry-12366090452.html

*Universal Studios Japan

[ciastov]

Related Blogs

Here are the links to my final project group members tumblrs about Global Indigenous Theater.

Joseph Newman-Getzler: Sami Theatre in Sweden and Norway

https://www.tumblr.com/blog/joesterwiththetoaster

Atticus Rego: Decolonizing Musical Training

https://www.tumblr.com/blog/decolonizingmusictraining

Theo Strassell: History of Nuo Opera

https://nuoxitheater.tumblr.com

[arthurhwalker]

Bladerunner 2049, thoughts

I thumbed out these thoughts about the movie on my smart phone weeks ago when I saw the movie. I still need to go back and watch it again.

Blade Runner 2049, initial thoughts. Mega Spoilers.

The movie marks a sort of transition, both external and internal to the movie itself. It was like watching a graceful transition from Platonism to Neo-Platonism, Symmachus’ Greek to Jerome’s Latin, Scott to Villeneuve. I drew a lot of startling parallels throughout the film.

Leto’s character, Niander Wallace, is the Demiurge of the story, but not Plato’s version. He is the Antinomian (Cainite/Gnostic, not the secular Orwellian) variety, and those he creates are just as likely to be tools as victims. Like Samael the Archangel, Wallace is tolerated in spite of his duality as creator (his patents saved billions of lives) and destroyer (he kills people) (also, watch his mini clip that came out before the movie).

One of Samael’s monikers is “The Blindness of God”, hence Niander Wallace being blind, but with the ability to have sight beyond that of a human (implants controlling ocular drones). His sight is a judgement on what he creates, and one of the chief duties of Samael was as an Angel of Death.

I don’t make the association for nothing. In Gnostic tradition, via the Apocryphon of John, Samael is one of three names given the Demiurge. Awesome, Arthur, but why is drawing these parallels important? -> These are the philosophical and religious traditions that are the precursor (arising from, or in parallel) for some of humanity’s first thoughts and attempts to create artificial life, or robots, a central theme in Blade Runner. (Google Hermeticism and “brazen head”.)

Opposite the Demiurge is the notion of Nuos. It is the philosophical term for human intellect, and in classical philosophy it is how humans determine what is real. Short version: The Demiurge is bad, concerned with only the material world, and Nuos is good, the means by which creatures possessed of human intellect find real value in life.

Doctor Ana Stelline is Nuos in the story, both for Deckard, and for replicants. She literally creates that basis of reality, allowing them to identify what is real. And, OMG she does this from a bubble via a purely rationalistic (reason as opposed to experience to gain certitude) method. (Joygasm) She understands that by granting replicants a real (albeit illegal) memory, it creates the proper contrast for them to seek good things. When the protagonists reach for what is real, they reach for her, whether they realize it (Deckard), or not (K). Human, replicant; reason does not discriminate.

Deckard proclaims, “I know what is real” to Wallace and Luv as they attempt to seduce him (because Samael and Lilith are all about that). “Her eyes were green.” isn’t merely a comment about the craftsmanship, it is Deckard asserting reason over the lure of experience and material things. NBD.

Nuos 1, Demiurge 0.

Was Joi given sapience by Doctor Ana Stelline’s cognitive creations? God, I hope so.

Why is looking back to scripture as translated by Symmachus and Jerome important? Because the replicants are the Nephilim of the story (Symmachus’s version to inspire Jerome), offspring of the Sons of God (Tyrell/Wallace), the daughter of Man (Ana Stelline). Genesis is painfully vague about all this. Interpret as you will, but the Nephilim vanish after the Deluge (watery doom, God returning the Earth to the state it was previous to the creation of man).

It is in this version of scripture, God predetermines the life span of some of his creations as his “spirit shall not abide in mortals forever”. (Omg Replicants) (Again, watch the Niander Wallace clip they put out before the movie.) Anyway, on the point I was trying to make.

The presence of water in the movie is significant. The still pool in Wallace’s chamber, K having his epiphany in a watery drainage tunnel, a final battle in the dark, where the water is rising, like a literal Deluge. These are powerful parts of the narrative of Blade Runner 2049. Anyhoo...

...okay, Samael had two consorts, Naamah, and Lilith. Naamah (Freysa? Maybe? Still trying to figure her out, and the dog.) is an obscure figure, but Luv is definitely the child-stealing and wanton embodiment of Lilith to Wallace’s Samael in the story. She is, by her own words “for him”. She gave me shivers on screen because Luv was the ’Songs of the Sage’ version of Lilith, leaving people desolate of heart (Killing Joi, shooting Rachel V2 in the head, etc), while leading them from the spirit of understanding (virtually every time she talks).

K defies classification (at this time, need to watch again). He was consigned to bear memories of the furnace (or Hell) similarly to other replicants (Nephilim) but he chooses Nuos (Doctor Stelline), Joi (the ephemeral avatar of Nuos?), and turns aside temptations of the Demiurge, and the edict of Freysa. Even in the face of Freysa making the same declaration as Sapper, K does not waver. Bearing witness to a miracle was not enough to turn K from his own intrinsic good, or the reason that ruled him.

K chooses to have real courage, and to unflinchingly accept that of others (Joi). Genuine courage is not without extreme liability. To gaze straight into the pristine face of reason (Ana Stelline), shook K to the core of his being, taking him light years from his baseline. He loses, literally, everything.

The K character annihilates the science fiction protagonist tropes. Roy Batty, a proper Nephilim by way of my comparison , was washed away in a Deluge, “like tears in rain”. K will be fine, reassuring Deckard with a smile, and dying (we are left to presume) peacefully while surrounded not by water and darkness, but heavenly white at the end, (Omg, on the steps to the temple of reason, in the wake of her father, freshly rescued from the Deluge. Omg.)

This was all running through my mind as I left the theater, shaken, like no movie I’d watched before. I still can’t process some of what I watched. I have 275,892 questions. Omg.

[ourimpavidheroine]

1/2: I started reading your Wuko story (The abdication of Hou-Ting LVI) a week or so ago. It's fucking awesome. Seeing Qi making a conscious effort to correct Qi's speech to make it more proper? Tears every where. I'm an English major that grew up in poverty and my speech very much reflects that. I'm more than capable of speaking "proper" English but for years I didn't because that's how I talk. But people thought I was dumb and crude because of how I spoke.

2/2: It made me cry to see that some one else gets it. I've tried to explain that people treat me differently because of how I talk but no one seems to get it. Seeing it put into such a beautifully crafted story and centered around a non-cis character that I could relate to as agender? It made me feel like I wasn't just over reacting for the first time in my life. Does your understanding of how speech effects the perception of the person come from experience? Personal or otherwise?

First of all, thank you so much for taking the time to not only let me know you are enjoying the stories but also for sharing such a very personal connection to them. Your words were very beautiful and very very moving. It meant a lot to me to read them.

To answer your question...yes. My understanding of how speech influences perception is 100% personal.

As a small girl, I had a stutter. I was already a strange, awkward child - it was only in my 40′s that I was diagnosed with Asperger - and the stammer made it so much worse. I was in speech therapy for two years getting rid of it. The bonus of this was that I learned to mimic my speech therapist’s voice perfectly.

I also grew up in and around poverty. When I was 10 my parents moved us from the San Francisco Bay Area to a tiny town located in Northern California, a town that relied on the timber trade to survive. My parents were blue collar people who hovered on the brink of poverty my entire life. I was the first person to go to university in my family. And when we moved to this small town? I got beat up more than once for emulating my old speech therapist’s accent. Because I sounded stuck-up, don’t you know.

I got the fuck out of Dodge when I left for University (never to return) and I studied theater, where I specialized in acting, and especially voice work. I spent a lot of time perfecting my accent when I was there, losing the rough sounds of my background. I knew first hand how different I sounded. I knew first hand how differently people treated me when I didn’t sound like who they expected.

Fast forward many years. I met and married a Finnish woman and moved to Finland. Now being an immigrant is part of my identity, and the fact that I cannot speak fluent Finnish continues to impact me every day. Finns make a lot of assumptions about me because of my accent: I’m stupid, I’m uneducated, I’m not funny (humor in a second language is difficult), etc. People get impatient, angry, dismissive and are often very rude to me because of it. And I’m the “right” kind of immigrant, a white cis woman (who isn’t Russian). It’s so much worse for my fellow immigrants here who are not white. My life is full of constant small humiliations because of the way I speak: the man in the shop, brusque and impatient, the receptionist feeling completely free to yell and humiliate me because I misunderstood the time of my appointment over the phone, the looks on people’s faces when I mispronounce a word.

Because of the Asperger there are also times when I struggle with communication, where my spoken words jumble up and either come out tangled or refuse to come out at all. Do I get judged for this? Of course. People don’t know what is going on, and they assume the worst.

I teach English for a living. I’ve taught myself to speak what I call Teacher English: I speak clearly with excellent diction, slowly, I avoid slang and idioms, use phrasal verbs very sparingly, etc. It is an extremely conscious way of speaking, done in order to help my students understand me and gain the confidence to speak aloud (a problem that many Finns have). I am 100% aware of what I am doing. It is very deliberate. Because I know how it works, I know how speech has such an impact on how we live our day to day lives. (In fact, just this week I did a voice meme here on Tumblr; you can listen if you want to hear me speak!)

So yes, Anon. Yes. When I am writing about Qi trying to improve their accent, when I write about Wu trying to fit in, when I write about Mako’s struggle to make sure that he and Bolin keep their lower middle class accent, when I write about Nuo’s treatment at the hands of her schoolmates for her Lower Ring accent and then her treatment at the hands of her family when she finally comes home with an upper Middle Ring one, when I write about Huan’s struggle to make himself understood - his use of formal rote language when he is unsure or doesn’t know someone, his word salad when he’s starting to melt down and/or shut down - all of these things come from my long years of very personal experience. I get it, I really do. I know exactly what you are saying to me; let me assure you that I hear you, and I know. And I want to hug you, because I also know the kind of emotional toll it takes from you, trying to make those changes. It’s slow and frustrating and yeah, it hurts. It’s frustrating that most people, like you said, have no idea of the assumptions they are making about someone based on their speech. Classism is a real thing, and it is revolves around how we talk. (And hooo-boy, there is so much to unpack about it with regards to racism, too, because race and speech? Holy shit. But that’s another post.) So let me say right here and now, Anon, that I’m acknowledging all of your hard work and I don’t have to know you to tell you how brave you are. I salute you, one poor kid to another.

[6stiklainiai-blog]

Visi žinome, kad norint numesti papildomus nereikalingus kilogramus turime reguliariai maitintis ir sportuoti, o rezultatus pastebėsime jau po kelių mėnesių. Taip pat suprantame, jog "pirmiausia numesiu kelis kilogramus, o po to pradėsiu reguliariai maitintis ir sportuoti" nesuveiks. O kaip su pinigais? Ar būna taip, kad mėnesio dar lieka, o pinigų nelieka ir tenka susiveržti diržus, arba skolintis? Ne pati maloniausia situacija... Siūlome išmėginti 6 stiklainių asmeninio/šeimos biudžeto sistemą, bei subalansuoti asmeninius finansus, juk tai nieko nekainuoja, reikia tik jūsų ryžto ir noro. Nuo ko pradėti? Na pirmiausia jums reikės 6 indų - tai gali būti stiklainiai :) (tai gali būti ir 6 banko sąskaitos - naudojantis #paysera internetiniu banku ši paslauga yra nemokama). Gaunamas pajamas reikia skirstyti dalimis į 6 stiklainius... Kad sužinoti daugiau apie šią sistemą, kviečiu perskaityti visą straipsnį ---> https://www.facebook.com/6stiklainiai/photos/a.119013618728802/119013548728809/?type=3&theater #fitness #lithuanian #finansai #sėkmėtaipasirinkimas #edukacija #vilniuscity #kaunascity #klaipedacity #6stiklainiai (at Klaipeda, Lithuania) https://www.instagram.com/p/BpwV5AYnAkN/?utm_source=ig_tumblr_share&igshid=1avb7ji9xtzlw

[advokatasbauza]

Turbūt kiekviename žmoguje yra kažkas gera - ir tik nuo mūsų priklauso, matome tai ar ne?

[nuoxitheater]

维吾尔人。 Acknowledging the Uighurs/Uyghurs

**THIS POST IS UNRELATED TO NUO THEATER**

I would like to use this space to acknowledge a current genocide occuring in China of the Uyghur Muslim group. These people are being forced to live in concentration camps similar to those of World War II, and denounce Islam or face intense torture. Because China heavily controls what is said in the media regarding their country, there has not been much news coverage of this subject. If you are interested in learning more, I have included a link here that will explain everything we know of what is going on.

[queen-ma]

Tęsiant baleto temą - padovanokit man bilietą į operą ar baletą ir aš tapsiu jūsų geriausia drauge! 🤗 taip nutiko @ruta.ula, kuri gimtadieniui mane nusivedė į Karmen ♥️ pamenu tą vakarą - tobula nuotaika, puiki draugija, dovanų buvau gavusi Portrait of the Lady ir dvelkiau prabanga, po baleto vakarieniavome La Cave, plepėjome apie interjerą ir apie art deco, kuris mums abiems - geriausia harmonija tarp moderno ir klasikos ☺️ Rūtele, kartojam!!! 😍 šiandien išnaudojom paskutinę Kalėdinę dovaną - bilietus į Sniego karalienę! ❄️ žiūriu ir nenoriu, kad žiema baigtųsi... 😭 jeigu “nesikultūrinate” operos ir baleto teatre, manau, prarandat galimybę atitrūkti nuo kartais pilka tampančios kasdienybės.. o gal ir jūs gimę per vėlai, kaip aš? Tada jums 100% patiks! 🎭 #martinablog #vilnius #lithuania #ballet #opera #interiordesign #interior #theater #red #redcarpet #nightout #luxury #culture #evening #classic #classy #lifestyle #lifestyleblogger #instapic #instagood #instafollow #potd #love #datenight #followme (at Lietuvos nacionalinis operos ir baleto teatras)

[kapitaali]

Ekstrovertti hakkerisukupolvi: hakkeritilat ja hacktivismi

Kirjoittanut Jarkko Moilanen

Hakkerit muodostavat globaalin yhteisön, joka koorstuu useista mikroyhteisöistä (Barber, 2001, 14). Nuo autonomiset mikroyhteisöt ovat jatkuvassa liikkeessä; kehittymässä, talviunilla tai kuolemassa. Hakkerien mikroyhteisöt ovat olleet ensimmäisiä virtuaaliyhteisöjen muodostajia. Hakkerien keskuudessa suurin osa yhteisestä kommunikaatioverkostosta ja yhteisön pohjasta elää IRC:ssa. Hakkerit lurkkaavat kanavilla usein kaiken aikaa tekstivirtaa seuraten. Intensiiviset interaktiot ja vahvat emotionaaliset siteet eivät ole harvinaisia näissä virtuaaliyhteisöissä, joiden jäsenillä on yhteisiä aktiviteetteja ja resursseja keskenään, ja interaktio on toisia tukevaa toisten vertailun sijaan. (Whittaker et al., 1997) Rheingold on nimittänyt noita kanavia ”paikalliskuppilaksi, kahvilaksi, yhteiseksi tilaksi — verkon ’parhaaksi paikaksi’” (Rheingold, 1993, 155) Kanaville osallistujat tutustuvat toisiinsa ilman että tapaavat oikeassa elämässä. Yllämainitut virtuaaliyhteisöt ovat olleet hakkeriverkostojen päämuoto jo vuosikymmeniä.

Viimeisten vuosien aikana hakkerit ympäri maailman, suurimmaksi osaksi Euroopassa ja Pohjois-Amerikassa, ovat alkaneet siirtää hakkeriverkostoja ja yhteisöjä pois virtuaalimaailmasta reaalimaailmaan. He ovat alkaneet muodostaa hakkeritiloja (hackerspace), hakkeriyhteisöjä jotka ovat sekä virtuaalisia että oikean elämän tahoja. Tämä artikkeli pyrkii luonnehtimaan hakkeritila-sukupolvea hakkeriyhteisön viimeisimpänä muotona. Tässä artikkelissa hakkerisukupolvet ovat jakautuneet kahteen luokkaan: introvertit ja ekstrovertit sukupolvet. Hakkeritilan sukupolvien kuvaus perustuu hakkeritilojen vertailuun hacktivismin kanssa. Vertailu on validi työkalu, sillä näillä kahdella sukupolvella on yhteinen historia. Siksi molemmat ekstroverttisukupolvien muodot, hacktivismi ja hakkeritilat saavat tässä esityksessä huomiota.

Introvertit hakkerisukupolvet

Tämä artikkeli valitsee Taylorin näkökulman hakkerisukupolviin. Vaikka Taylorin näkökulma hakkerisukuplvista tuntuukin varsin validilta, se on vanhanaikainen ja se tulee päivittää ottamaan mukaan hakkeritilat viimeisimpänä sukupolvena. Päivitetty sukupolvimalli näkyy allaolevassa kuvassa.

Kuva 1: Hakkerisukupolvet. Lähde: Muokattu Taylorilta (2005). Kirjoittaja lisännyt hakkeritilat. Hakkeritilasukupolven alku on epävarma. Hakkeritilat syntyivät pienessä mittakaavassa noin vuonna 1995, mutta läpimurto tapahtui joskus 2001-2002.

Sukupolvet on jaettu kahteen luokkaan, ekstroverttiin ja introverttiin sukupolveen. Introverttisukupolven piirteisiin voidaan tunnistaa kuuluvan ainakin seuraavat. He ovat olleet tyytyväisiä pysyessään jonkin verran suljettujen piirien sisällä. Heillä on vähän tai ei yhtään yhteyksiä ympäröivään yhteisöön ja he haluavat pysyä piilossa julkisuudelta. He ovat muodostaneet riippumattomia pienyhteisöjä, jotka ovat harvoin tekemisissä toisten samanlaisten kanssa. Ekstroverttisukupolvet, hacktivistit ja hakkeritilat taas haluavat tulla nähdyiksi, kirjoitetuiksi ja olla keskustelun aiheena. Toisin sanoen, he käyttävät julkisuutta saamaan kansan huomion. Lisäksi ekstroverttisukupolvet eivät halua olla erossa ympäröivästä yhteisöstä, sen sijaan he haluavat olla osa sitä ja vaikuttaa suoraan siihen. Ennen yksityiskohtaisempaa keskustelua ekstroverttisukupolvesta, aiemmat sukupolvet tulee ottaa lyhyesti käsittelyyn.

Sukupolvien määrä vaihtelee, mutta suurin osa tutkijoista on sitä mieltä, että ensimmäiset hakkerisukupolvet syntyivät MIT:ssa 1950-luvun lopulla. Näitä varhaisia laskentatoimen pioneereja nimitettiin ”todellisiksi hakkereiksi” tai ”alkuperäisiksi hakkereiksi”. (Levy, 1984, 15-129) Puhelin-phreakkaajia nimitetään usein toisen sukupolven hakkereiksi. (Gollin, 2010; Taylor, 2005; Rosenbaum, 1971; Sterling, 2002) 1970-luvulla syntyi uusi hakkerisukupolvi. Hakkerit kuten Lee Felsenstein, Efrem Lipkin, Bob Albrecht ja Ed Roberts eivät päässeet käsiksi suurtietokoneisiin. Heidän piti rakentaa omat tietokoneensa, joka käynnisti henkilökohtaisen tietokoneen aikakauden. Pelit alkoivat muodostua uudeksi tietokonesovelluksen muodoksi 1980-luvulla. Ennen tätä tietokoneet olivat aina olleet lähinnä teollisuuden ja tieteen käytössä. (Flowers, 2008) Pelit ja hakkerit ovat aina olleet syvällä tavalla toisiinsa sidoksissa. Suhde kasvoi uusiin ulottuvuuksiin kun kaupalliset pelien kehittäjät mahdollistivat yhteisön muokata pelejä tai parantaa niitä modaamalla. William Gibsonin  Neuromancer ja Douglas Couplandin Microserfs (Coupland, 1996) ovat pääesimerkkejä fiktionaalisista hakkeroinnin kuvauksista. Couplandin kirja on elävä fiktionaalinen (tai faktuaalinen) kuvaus kaupallisissa piireissä pyörivistä hakkereista ja mikroserffeistä jotka työskentelevät Microsoftilla. Microserffin elämä on omistettu heidän projekteilleen ja yritykselle. Microserffit raahustavat matalan tason tietotyöpaikassa ja huonoilla palkoilla ilman pitkäaikaisen rahallisen menestyksen tulevaisuudennäkymiä ja suhteellisen vähällä autonomialla.

Seuraava sukupolvi, open source, on melkein vastakohta microserffeille. Monet kirjailijat ovat kirjoittaneet hakkerien merkityksestä Open Source -kehitykselle, joka on muuttumassa yhä kiinteämmäksi osaksi yhteiskuntia eri instituutioiden, kuten koulujen ja hallinnon, kaikilla tasoilla.  (Torvalds ja Diamond, 2002; Lakhani ja Wolf, 2005; Lin, 2007; Lakhani ja Von Hippel, 2003; Sauer, 2007; Raymond, 2001) Hakkerit ja open source -liike ovat läheisessä suhteessa keskenään, sen perustajan Open Source Initiativen mukaan “[e]räs syy sille miksi tuen hakkereita on, että he ovat sanoneet meille yli 10 vuotta että keisarilla ei ole vaatteita.”(PBS, 2001) Lakhanin ja Wolfin mukaan (2005, 6) termi hakkeri on kunniamerkki F/OSS-yhteisössä, vastoin sen käyttöä massamediassa. Open source -lisenssit kuten GPL ja sen johdannaiset ovat reaalimaailman abstraktin hakkerietiikan sovelluksia joissa ”vapaa tiedonvaihto sallii suuremman yleisen luovuuden.”(Levy, 1984, 27)

Open source -hakkerit alkoivat siirtyä introverteista ekstrovertteihin hakkeriyhteisöihin. Heidän ponnistelunsa saivat paljon huomiota ja taloudellista merkitystä. Kuitenkin tarkoitus ei ollut muuttaa aktiviteetteja täysin ‘ekstrovertiksi’. Suurin osa kehittämisestä on silti enemmän tai vähemmän piilossa ja hardcore-hakkerien käsissä. Lisäksi open source -hakkerien aktiviteetit eivät ole poliittisia ja ne keskittyvät virtuaalitilaan. Samaan aikaan siirtymä kohti hacktivismina tunnettua enemmän sosiopoliittisesti orientoitunutta ja ekstroverttia hakkerisukupolvea oli syntymässä.

Poliittisesti aktiiviset hakkerit

Termi hacktivismi oli Cult of The dead Cow:n (cDc) jäsenen nimeltään Omega käyttöönottama vuonna 1996.(Ruffin, 2004) Ruffin oli yksi hacktivismi-termin pääarkkitehdeista. Se mistä tuntuu olevan yksimielisyys jossain määrin on, että hacktivismi siirtää aikaisemman reaalimaailman aktivismin taktiikat kyberavaruuteen. Hacktivismi syntyi aivan erityisestä tavoitteesta vastustaa ”korporaatioiden kiskurien internetin kommodifikaatiota sekä sortavien hallitusten ihmisoikeusloukkauksia” (Manion ja Goodrum, 2000, p. 14). Sellaiset ideaalit ovat itsestäänselviä hacktivistiryhmien, kuten Cult of the Dead Cow (cdc), the Electronic disturbance Theater (EDT) and the Electro-Hippie Collective manifesteissa ja ryhmäideologioissa. Hacktivistit haluavat protestoida ja disruptoida; he eivät halua tappaa tai pelotella.

Erään kaikkein näkyvimmän hacktivistifiguurin Oxblood Ruffinin mukaan ensimmäinen sukupolvi oli lapsia jotka ”viettivät aikansa hakkeroiden limsa-automaatteja” (Ruffin in McKay, 1998) ja keski-ikäistyivät 1980-luvulla, aikana jolloin ihmiset elävät kaikkein aktiivisinta vaihetta poliittisesta elämästään (Smith ja H., 2009). Yllämainitut lapset olivat ensimmäisiä jotka kasvoivat maailmassa joka muuttui enemmän ja enemmän riippuvaiseksi tietokoneista. Lisäksi sukupolvella on yhteisiä kokemuksia suurista muutoksista jotka aiheuttivat joskus perustavanlaatuisia muutoksia yhteiskunnassa, esimerkiksi sodista. (Purhonen, 2007, 16) Tässä tapauksessa suuri muutos tapahtui 1990-luvun puolivälissä. Internetin kasvava tärkeys kommunikaatiokanavana ja graafisten selainten nousu voidaan nähdä toisena todennäköisenä seikkana joka edisti hacktivistisukupolven muodostumista.

Hacktivismi ei ole yksittäiseen ongelmaan keskittynyttä poliittista toimintaa. Tarkemmin ilmaistuna, hacktivismi on “[…] hakkeroinnin, phreakkauksen tai teknologian luomisen menettelytapa jolla saavutetaan poliittinen tai yhteiskunnallinen tavoite”.(Fleming, 1998; TheHacktivist, 2003) Siihen kuuluu erilaisia poliittisia painopisteitä ja sitä ei tulisi pytää yksinkertaisena kokonaisuutena.

Ylläolevassa kuvassa hacktivismi sijoittuu 1990-luvun lopulle. Tämä saattaa olla jonkin verran harhaanjohtavaa, sillä PeaceNet, tekstipohjainen uutisryhmäpalvelu, vuonna 1986 salli ”poliittisten aktivistien kommunikoida keskenään valtiorajojen yli suhteellisella helppoudella ja nopeudella.” (Wray, 1998) PeaceNEt oli työkalu ennen www:n nousua. Ensimmäisten hacktivismiksi kutsuttavien tapahtumien osoittaminen vaihtelee. Jos viruksia ja matoja ei oteta huomioon, silloin milw0rm (hakkerinimi) -hyökkäykset Bhabhan ydinvoimalaa vastaan vuonna 1998 voidaan tunnistaa erääksi ensimmäisistä tapauksista. Yllämainittu hyökkäys oli klassinen esimerkki tietokonemurrosta ja sivujen turmelemisesta. Samana vuonna hakkerit nimimerkeillä Bronc Buster ja Zyklon, hakkeriryhmä Legion of the Underground (LoU):n jäsenet, sulkivat Kiinan hallituksen palomuurit ja mahdollistivat kiinalaisten vapaan pääsyn verkkoon. Eräs kaikkein tunnetummista hacktivistioperaatioista on ollut  X-Ploitin hyökkäys (1998) Meksikon viranomaisia ja presidentti Ernesto Zedillon hallitusta vastaan, tarkoituksenaan tukea Zapatistoja. Hyökkäyksessä X-Ploit turmeli eräitä Meksikon valtiovarainministeriön ja terveysministeriön verkkosivuja. Toinen ryhmä nimeltään Kaotik Team turmeli 45 indonesialaista verkkosivua ja laittoi sivuille viestin joka peräänkuulutti Itä-Timorin itsenäisyyttä. Perustuen näihin esimerkkeihin, vuosi 1998 voisi hyvin olla hacktivismin syntyvuosi.

  Kuva 2:  Merkittäviä hacktivistiorganisaatioita. Lähteet: CCC 2010; Still, 2005; TheHacktivist, 2003.

Jotkut hacktivistiorganisaatiot ovat edelleen hengissä ja jotkut taas ovat lakanneet olemasta. Kaksi ryhmää, cDc ja CCC (katso kuva 2), olivat alkuvoimia poliittisessa hakkeriudessa. Jälkimmäinen perustettin niinkin varhain kuin syyskuun 12. päivänä 1981 Berliinissä Wau Hollandin ja Andy Müller-Maguhnin toimeenpanemana. Pian tuon jälkeen cDc perustettiin vuonna 1984 Texasin Lubbockissa kolmen hakkerin voimin. 1980-luvulla CCC protestoi Ranskan ydinkokeita vastaan ja jotkut CCC-jäsenet olivat mukana Saksan vihreässä puolueessa. Nykyään CCC tunnetaan julkisista mielenosoituksistaan eri järjestelmien turvallisuusaukkoja vastaan. Eräs viimeisimmistä mielenosoituksista vuonna 2008 vähätteli biometristä tunnistamismenetelmää jota voidaan käyttää mm. passeissa. Ryhmä hankki ja julkaisi Saksan sisäministeri Wolfgang Schäublen sormenjäljet (Relph-Knight, 2008). Sormenjäljet voitaisiin kopioida ja käyttää missä tahansa sormenjälkilukijassa. CCC on pääjärjesteäjä Euroopan suurimmassa hakkerikonferenssissa SIGINT:ssa. CCC pitää myös nelipäiväisen konferenssin Chaos Communication Congress. Suurkonferenssien lisäksi CCC:n toimintaan kuuluu suuri määrä pienemmän kokoluokan konferensseja, omia radiolähetyksiä sekä lehti. Toisin sanoen, CCC:llä tuntuu olevan merkittävä rooli hakkeriyhteisössä. Kuten aiemmin mainittu, hakkerisukupolvet ja -organisaatiot nivoutuvat yhteen, mistä CCC-verkko on hyvä esimerkki. CCC on suuri valtionlaajuinen organisaatio ja se on perustanut Saksaan useita hakkeritiloja (CCC, 2010). Tiivistettynä, hacktivistit ovat keskittyneet hakkeroinnin ja sosiopoliittisten ongelmien yhdistelmään sekä lokaalisti että kansainvälisesti, kuitenkin samaan aikaan heidän toiminnallaan on ollut merkittävä rooli (katso kuva 3) rakennettaessa viimeisintä hakkerisukupolvea jota voidaan nimittää hakkeritilasukupolveksi.

Nousevat julkiset hakkeriyhteisön muodot

Vaikka yllämainitut hakkerisukupolvet tunnustetaankin akatemian tasolla, (katso esimerkiksi Sterling, 2002; Taylor, 2005) sieltä saattaisi olla jäänyt pois viimeisimmät kehityskulut jos hakkeritiloja eräänä ”tee-se-itse”-liikkeen muotona ei siihen olisi lisätty. Hakkerit muodostavat uudenlaisia yhteisöjä, jotka ovat varsin erilaisia verrattuna aiempiin hakkeriyhteisöihin. Hakkeritilat ovat yhteisöjä joiden fyysinen tila on koko yhteisön keskipisteessä. Koska hakkeritilat ovat liikkeenä edelleen uusi, yksinkertainen ja tiivis määritelmä puuttuu jopa niiden keskuudesta jotka ovat olleen mukana alusta alkaen. Eri hakkeritilat käyttävät eri nimiä yhteisöille: hacklab, voittoa tavoittelematon workshop, taidekollektiivi, makerspace, tech shop, fab lab ja niin edelleen. Nimien liuta uudelle ”tee-se-itse”-yhteisöille ilmaisee liikkeen monimuotoisuutta, mitä voitaisiin parhaiten kuvata ”valmistamisen digitaalisena vallankumouksena […joka] sallii täydellisen makroskooppisten esineiden tuottamisen epätäydellisistä mikroskooppisista komponenteista”. (Gershenfeld 2007, 10)

Tieteelliset yritykset selkiyttää eri ”tee-se-itse”-hakkeriyhteisöjen välillä ovat harvinaisia. Jopa yhteinen ymmärrys siitä miten nimetä liikkeet puuttuu edelleen.

Troxler on ottanut käyttöön Gershenfeldin (2007, 3-17) termin ‘fabbing’, joka on ”fyysisten hyödykkeiden yhteisvaurauspohjaista vertaistuotantoa”. (Troxler 2010, 2) Troxler käyttää termiä sateenvarjoterminä kaiken muotoiselle hakkeroinnille, mitä kuvataan alla. Termi ”fabbing” saattaa olla jonkinverran harhaanjohtava, sillä sana on johdettu fab labseista (lyhenne fabrication laboratorysta, valmistuslaboratorio, myös fabulous laboratory eli satumainen laboratorio), joka ovat suurimmaksi osaksi NSF:n rahoittamia tee-se-itse -yhteisöjä. Troxlerin mukaan hakkeritilat ovat yksi ”fabbingin” muoto. Toisia fabbingin muotoja ovat: fablabit, techshopit, 100k garaget, jakamisalustat ja open source -laitteisto. Troxlerin näkökulma ”fabbingiin” ja ”tee-se-itse”-kulttuuriin on enemmän tai vähemmän keskittynyt fyysisten hyödykkeiden tuotantoon, joka jättää välistä yhteisöaspektit. Hakkeritilat painottavat yhteisön roolia, jäsenten roolia ja riippumattomuutta ulkopuolisista tekijöistä kuten rahoituksesta.  (Moilanen 2010) Tilanne on vastakohtainen fab labeille, jotka ovat MIT:n alaisia. (Troxler, 2010, 3) Lista fab labeista on MIT:n ylläpitämä, joka puolestaan on esimerkki kontrollista. Yhteisö voi julistautua olevansa hakkeritila ja listata itsensä vapaasti ylläpidettyyn wikipohjaiseen listaan hakkeritiloista. Toisin sanoen, hakkeritilayhteisö itse sääntelee sitä mitä voidaan kutsua hakkeritialksi. Vahva halu olla riippumaton näkyy tilan rahoituksessa, joka usein perustuu pääsymaksuihin ulkoisen rahoituksen sijaan. Hakkeritilat ovat hakkeriyhteisöjä, jotka soveltavat hakkerietiikkaa ja painottavat yhteisön arvoja, kun toiset ”fabbingin” muodot tuntuvat olevan jonkinlaisia minituotantoverkostoja tai -yhteisöjä. Asenne liiketoimintaa tai liiketoiminnan kaltaisia yhteisöjä kohtaan on se mikä erottaa hakkeritilan techshopeista. Yhteisö joka toimii edes vähänkään liiketoiminnan tapaan ei voi olla hakkeritila. Huolimatta Troxlerin mallin rajoitteista, se ottaa mukaan hakkeritilat yhtenä selkeimmistä ”fabbingin” muodoista, joka on levinnyt ympäri maailman. Lisäksi hakkeritilojen ekosysteemi on suurin ”fabbingin” muoto, sillä hakkeritilojen määrä on noin 350, joista 250 ovat aktiivisia ja 100 rakenteilla. Fab labeja on noin 100. (Troxler, 2010, 3)

Kuva 3: Chaos Computer Clubiin liittyvät hakkeritilat. Lähde: http://ift.tt/Lsg6x9

Hakkeritilat alkoivat muodostua 90-luvun lopulla, mutta perusta hakkeritiloille luotiin vuosituhannen vaihteen Saksassa, CCC:n avulla. (Farr 2009) Tuohon aikaan hakkeritilat alkoivat järjestäytyä yhdistyksiksi tai senkaltaisiksi, tulla julkisesti tunnetuiksi ja identifioida hakkerietiikan eräänä toiminnanohjauksen ydinelementeistä. Vuosi 2001 oli käänntekohta hakkeritiloille. Tuolloin perustettiin useita hakkeritiloja. (Moilanen 2009) Eräs mahdollinen syy kasvulle on voinut olla vuosituhannen vaihteen taantuma, joka oli yleisesti erä ”parhaista” taantumista historiassa. Yleiset talousvaikutukset taantumalle olivat suhteellisen pienet. (Nordhaus 2002, 200-204) Kuitenkin se vaikutti IT-sektoriin ja teknologiakupla oli juuri puhjennut Piilaaksossa. Siksi useat yritykset pakotettiin leikkaamaan IT-kulujaan ja useat ”hakkerit” saivat potkut Euroopassa ja USA:ssa. Hakkerit edelleen tarvitsivat yhteisön johon liittyä ja useat uudet ”fabbing”-yhteisöt tarjosivat heille paikan. Yllämainituista syistä olen sijoittanut hakkeritilasukupolven alun vuoteen 2001.

Hakkeritilat ovat Oldenburgin määrittelemien ”kolmansien tilojen” hakkeriversioita. Oldenburgin mukaan ”kolmannet tilat” viittaavat erilliseen sosiaaliseen milj��öseen tai ympäristöön irrallaan ”ensitilasta” (koti ja toiset samanlaiset miljööt) sekä ”toisesta tilasta” (työpaikka).  (Oldenburg, 1999) Kolmannet tilat ovat ”ankkureita” yhteisöelämälle, ne helpottavat ja kehittävät laajempaa, luovempaa interaktiota. Nämä paikat toimivat keskipisteinä yhteisöelämälle, joka on rapautunut kaupallisten ketjujen ja yhden asian kaavoituspolitiikan takia. (Oldenburg, 2001, 3) Toisin sanoen, me olemme hylänneet julkiset puistot, leikkipaikat, koulut, kahvilat ja pienet paikalliskaupat yhteisöelämän tiloina. Me olemme kasvaneet erilleen toisista toisen maailmansodan jälkeen. Kolmansia tiloja tarvitaan tuomaan ihmisiä yhteen ja vahvistamaan yhteisösiteitä. Tullakseen menestyksekkääksi kolmanneksi tilaksi niiden tulee olla paikallisomisteisia, itsenäisiä ja pienen mittakaavan tiloja, ja perustua vakaaseen liiketoimintaan. (Oldenburg, 2001, 4) Lisäksi tilojen tulee olla helposti saavutettavia, kävelyetäisyydellä, ilmaisia tai halpoja ja niitä tulee käyttää säännöllisesti. Näitä kriteerejä verrattaessa hakkeritiloihin samankaltaisuudet ovat ilmiselviä.

Vaikka kompakti määritelmä puuttuukin hakkeritiloilta, niihin on liitetty joitain ominaisuuksia. Ensinnäkin, hakkeritilan omistaa ja sitä pyörittää sen jäsenet tasa-arvon hengessä. Toiseksi, ne ovat voittoa tavoittelemattomia organisaatioita, ja avoimia ulkomaailmalle. Kolmanneksi, hakkeritilojen jäsenet jakavat työkalut, laitteiston ja ideat ilman syrjintää edes ulkopuolisia kohtaan. Neljänneksi, niillä on vahva painotus teknologiaa ja keksintöjä kohtaan. Viidenneksi, niillä on yhteinen tila yhteisön keskipisteenä. Lopuksi, niillä on vahva keksintöjen ja tieteen henki, joka perustuu kokeiluihin, virheisiin ja vapaasti jaossa olevaan informaatioon. Hakkeritilat ovat erikoistuneita kolmansia tiloja teknisesti suuntautuneille ihmisille. Hakkeritilat palvelevat hakkerien tarpeita ”rakentaa ihmissuhteiden infrastruktuureja”. (Oldenburg, 2001, 2)

Hakkeritilat haluavat olla osa ympäröivää yhteisöä ehostaakseen teknologista tietoutta ja tuomaan ihmisiä yhteen, mukaanlukien ne jotka eivät ole niin teknologiasuuntautuneita. Hakkeritilat tarjoavat tietoa ja taitoja ympäröivälle yhteisölle ja järjesteävät kursseja ja demoja eri aiheista. Ne tuntuvat nojaavan vetovoimaan agitaation sijaan. Ne haluavat myös luoda positiivisen ilmapiirit teknologiaa ja sen tarjoamia mahdollisuuksia kohtaan. Tässä mielessä hakkeritilat edistävät hakkerietiikkaa, jossa yksi ydinaspekti on: ”Voit luoda taidetta ja kauneutta tietokoneella.” (Levy, 1984, 43) sekä toinen: “Tietokoneet voivat muuttaa elämäsi paremmaksi”. (Levy, 1984, 45).

Johtopäätökset

Molemmilla sukupolvilla — hakkeritilat ja hacktivistit — on paljon yhteistä. Molemmat näkevät todellisen ja virtuaalisen, materiaalisen ja immateriaalisen sulautumisen ja yhdessäelon mahdollisuuden. Yhteinen vihamies yllämainituille maailmaoille perinteisessä hakkeriyhteisössä on sumentanut hakkeritilojen ja hacktivismin rajoja.

Hakkeritilat voidaan nähdä ”kolmantena tilana”, miljöönä kodin ja työpaikan ulkopuolella, jossa ihmiset rentoutuvat, pitävät hauskaa ja tapaavat toisia hakkereita jonkinlaisessa yhteisessä tilassa ja toistuvasti. Hakkeritilat rikkovat hakkeriyhteisöjen luontaisen ympäristön, sillä ne pyrkivät saavuttamaan kansan ja houkuttelemaan lisää jäseniä, ne ovat (semi-)avoimia kansalle ja haluavat olla osa ympäröivää yhteisöä. Hakkeritilat ovat ekstrovertti versio entisistä introverteista ja suljetuista hakkeriyhteisöistä. Vaikka hakkeritilaa voi kutsua ”kolmanneksi tilaksi”, se on pieni paikallisyhteisö joka on teknisesti suuntautunut, ei mikään neulontakerho tai teejuhla.

Kirjallisuutta

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Extreme activities in cyberspace. » Extrovert hacker generations – Hacktivism and Hackerspaces

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We all know that being a stuntman is dangerous, but sometimes we forget just how ridiculous their jobs can get. When they���re not jumping off buildings or being dragged behind horses, they’re being being thrown around by explosions or set on fire. Inevitably stunts go wrong, leading to injury, paralysis or, in these tragic cases, death.

#1 Kun Liu in The Expendables 2 One of the calling cards of the popular Expendables movies is their lack of reliance on computer-generated effects. They’re tributes to the old days of action movies, populated with real stunts and providing a welcome retreat from the modern influx of CGI. Though extraordinary to watch, the lack of computer fakery also increases the risk of injury and death for performers. In October 2011, a explosion scene on a rubber boat being shot for Expendables 2 in Bulgaria went horribly wrong. Two stunt people were seriously injured, Nuo Sun and Kun Liu, with the former able to recover but the latter dying in hospital from his wounds. Filming continued, while the actors publicly expressed their sympathies. The film is dedicated to Kun Liu’s memory.

#2 Lu Yanqing in Red Cliff After enjoying great success in his native Hong Kong, director John Woo moved to Hollywood to direct major films such as Face/Off and Mission: Impossible II. Though he enjoyed an initial burst of wild success, as the years went on the commercial viability and critical success of his films decreased. 2009’s Red Cliff represented a change of tack, a return to his native Hong Kong to mount the most expensive Asian-financed production in history. But something went wrong on set when a second unit crew was shooting a scene in which a small boat collided with an ancient warship, starting an uncontrollable fire and injuring several crew members. Trapped in the blaze, the 23 year old Lu Yanqing quickly burned to death. The film went onto gross a huge amount of money and was a major critical success, but the experience was soured for all by this tragic accident.

#3 Jose Marco in Shark Though the movie has been long forgotten, the unfortunate death of stuntman Jose Marco is remembered for its gruesomeness. While shooting an underwater sequence, a shark managed to break through the protective netting that separated Marco from the animal and maul him to death. The film was directed by cult icon Samuel Fuller, who disowned it when the tragedy was used by the promoters to advertise. It didn’t turn out to be a successful strategy, as the movie was quickly hurried out of theaters and doomed to a lifetime of cable obscurity.

#4 Jack Tyree in The Sword and the Sorcerer Other cast members had reputedly warned Jack Tyree about the 80 foot fall from a cliff he performed for The Sword and the Sorcerer, but the 10 year veteran stuntman did it all the same. He had previously performed in Escape from New York, Alligator, Planet of the Apes, Kojak and The Rockford Files, so perhaps his experience prevented others from completely dissuading him. Tragically, he landed just short of the airbag and was killed on impact. Though the jump is included in the finished film, the impact is not.

#5 Chris Lamon in Exit Wounds In terms of Steven Seagal’s career trajectory, 2001’s Exit Wounds came after the inexplicable success of movies like Hard to Kill and Above the Law, but before the glut of low-budget, direct-to-DVD fare that would follow. It was one of a handful of films that attempted to bridge the gap between Eastern martial arts and mainstream hip-hop, such as Cradle 2 the Grave and Romeo Must Die, a gap that few would think needed bridging. The surprise hit was also the cause of the sad tragic death of stunt performer Chris Lamon, who slipped when jumping from the back of a moving van. Two people were involved in the accident and both collided headfirst with the pavement, though the other performer survived with a concussion.

#6 Paolo Rigon in For Your Eyes Only Considering the amount of death-defying stunts in every James Bond film, in some ways it’s lucky that tragedy hadn’t struck any earlier. It was the last day of shooting a bobsled chase for the film when the sled flipped and 23 year old Paolo Rignon was pinned under it, killing him instantly. For Your Eyes Only may not be considered among the best of the Bonds, but it’s often singled out for praise because of its impressive stunts.

#7 Joseph Leonard Svec in The Right Stuff The Right Stuff is an engrossing movie that tracks the history of aviation and space travel through the eyes of a few brave men. Based on real events, a tragedy occurred when filming a scene recreating a real life incident involving famous test pilot Chuck Yeager. In 1963 Yeager was flying an NF-104 fighter plane when it began to stall and fill the cockpit with smoke. Yeager was able to survive by ejecting, but Joseph Leonard Svec, the stuntman recreating the scene, was not. A smoke canister simulating the smoke from the failing vehicle filled Svec’s helmet, knocking him unconscious before he could eject. The plane then hit the ground, killing him on impact.

#8 A.J. Bakunas in Steel In a rare case where the stunt has become more famous than the movie itself, stuntman A.J. Bakunas attempted a record breaking jump from the 22nd floor of a construction site, a height of 96 meters. He had committed to the decision after his previous world record had been shattered by fellow thrill-seeker Dar Robinson. It was an act of spectacular bravery that would quickly turn deadly. As a young man, Bakunas quit his job as a gym teacher to become a stuntman. Since his first performance in Dog Day Afternoon he had earned a wide reputation for the quality of his falls. His father and a crowd of over a thousand others watched as Bakunas attempted the amazing jump. He performed it perfectly, but the airbag split on impact and he died the next day from his injuries.

#9 Harry L. O’Connor in XxX XxX, perhaps most notable among its young male audience for introducing them to the curves of Asia Argento, was a massive financial success that grossed $277 million and earned a sequel three years later. Unknown to many, however, the production was also marked with a tragic death. Stuntman Harry L. O’Connor was killed when filming a para-sailing scene when he accidentally smashed into a bridge at an extremely high speed. Director Rob Cohen chose to include the footage from the deadly take in the finished film, cutting away before the final impact.

#10 Sonja Davis in Vampire in Brooklyn A notable turkey in the career of horror icon Wes Craven, the critical reputation of Vampire in Brooklyn couldn’t have been helped by the death of one its stunt performers, Sonja Davis. While every accident on this list was undeniably tragic, her unfortunate demise seems especially needless. The stunt was a 45 foot backwards drop, the impact of which should have been cushioned by the airbag she was provided. Because of its poor positioning, however, she instead bounced off it, colliding with the building she had fallen from before smashing into the ground. Reports from afterwards indicated that the airbag had been placed in a different position than she had anticipated, and the bag itself was not equipped to deal with such a large fall. Worst of all, three of Davis’ children were present on set to watch her perform the stunt. No emergency staff were available after the injury, so the crew were forced to wait an agonizing 15 minutes for an ambulance to arrive. Davis was then taken to the hospital, where she spent 13 days in a coma before passing away. Davis had been enjoying an extraordinary career as a stunt performer, serving as a double for Angela Bassett, Janet Jackson and Whoopi Goldberg, and appearing in movies like Timecop and Deep Cover. Around the time of her death, friend and industry professional Bob Minor called her the top black stuntwoman in the business.

Source: TopTenz

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