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fatehbaz · 1 year ago

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The link between warfare and technological innovation has been well documented [...]. World War II was a particularly intense crucible of technological change, and the repurposing of military technologies and industries in the forging of a new post-war consumer [economy] is crucial [...]. Processes of technological bricolage turned the machines of war onto the natural world as global powers competed to cement their economic and imperial hegemony. In Great Britain’s post-war “groundnut scheme” in its East African territories (1946-51), this collision of nature, military hardware, and technical expertise was part of efforts to both produce more fats for the British diet and to demonstrate to the world (most importantly the United States) that, through a newly energized science-led developmentalism, British colonialism still had a “progressive” role to play in the postwar world.

The aim was to produce millions of tons of peanuts across Tanganyika using the latest methods of advanced scientific agriculture. The environmental conditions in the north, where the scheme was to begin, were known to be especially trying, not least the dry climate [...]. But faith in the power of mechanized agriculture was such that any natural limits were thought to be readily surmountable.

The groundnut scheme was to be, as its Director put it in an interview with the Tanganyika Standard, a “war” with nature, and an “economic Battle of Alamein” waged over some three million acres by an army of colonial technicians - many recruited from military ranks - and local laborers, for many of whom the scheme represented their first entry into the wage labor market.

But it wasn’t just the rhetoric of war that was repurposed.

Lancaster bombers were kitted out to survey and discover “new country” in East Africa for agricultural development. [...] [T]ractors and bulldozers from military surplus stores in Egypt proved unable to tackle the hard ground and tough vegetation, so the planners turned to a novel solution: repurposing surplus Sherman M4A2 tanks. The Vickers-Armstrong factory in Newcastle-Upon-Tyne set about rearranging key elements of the tanks’ construction [...]. The tractors, christened “Shervicks” for their hybrid origins, were [...] thought to be particularly suited to large-scale earth-moving and to the kind of heavy duty “bush clearing” that was required in Tanganyika.

Officials sought to dismiss concerns that large-scale bush clearing would have wider environmental consequences, using the well-worn colonial trope that any observed changes in local climate or erosion patterns were due to the “primitive” agricultural practices of the locals, not to the earth-moving practices of the colonists. [...] As the plants continued to wilt in the sun, [...] [t]he stakes were high. As [J.R.] of the Colonial Development Corporation put it in a letter: “Our standing as an Imperial power in Africa is to a substantial extent bound up with the future of this scheme. To abandon it would be a humiliating blow to our prestige everywhere.” The only option left was to try and bend the weather itself to the scheme’s will, by seeding the clouds for rain. [...] “Balloon bombs” (photographic film canisters tethered to weather balloons) and a repurposed Royal Navy flare gun were used to target individual clouds [...]. The scheme itself has survived as a cautionary tale of governmental hubris, but it is instructive too as a case study of how technologies of war have been turned against other foes.

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All text above by: Martin Mahony. “The Enemy is Nature: Military Machines and Technological Bricolage in Britain’s ‘Great Agricultural Experiment.’“ Environment and Society Portal, Arcadia (Spring 2021), no. 11. Rachel Carson Center for Environment and Society. doi:10.5282/rcc/9191. [Bold emphasis and some paragraph breaks/contractions added by me. Images and their captions are shown unaltered as they originally appear in Mahony's article. Public Domain Mark 1.0 License for images: creativecommons dot org/publicdomain/mark/1.0/]

#multispecies #ecology #tidalectics #geographic imaginaries

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bandcampsnoop · 5 months ago

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6/26/24.

Slumberland Records. They've been on another roll (when aren't they on a roll) with new releases coming from Birdie (great band with members from Dolly Mixture and East Village) and Chime School. I'm still sifting through the lightheaded, Neutrals and Lunchbox bundle I just received. Now, I've run across some of their older releases on amazing markdown (Bricolage, Summer Cats and Sarandon).

Sarandon (London) was active during the early 2000s and have a sound reminiscent of The Fall and Wire while still retaining pop sensibilities of bands like Josef K. I can't imagine that Allan McNaughton (Giant Haystacks and the aforementioned Neutrals) didn't enjoy Sarandon's output.

This 10" is aptly named "Kill Twee Pop!" I can confidently say after listening to a couple of Sarandon's releases, that this is a sincere sentiment.

#Sarandon #London #England #The Fall #Wire #Josef K #Allan McNaughton #Giant Haystacks #Neutrals #Slumberland Records #Bricoloage #Summer Cats #Dolly Mixture #East Village #Birdie #Chime School #Bandcamp

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englishmoribund · 2 years ago

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Uncommon Words for Uncommonly Precise Thinking

Have you ever struggled to find the right word to convey a specific idea or concept? In a world where language is constantly evolving, it can be tough to keep up with the latest terms and phrases. But precision in language is crucial for clear communication, and sometimes it takes a more uncommon word to get the job done.

In this post, we'll be introducing you to five uncommon words that can help you express yourself more precisely and accurately. Whether you're a writer, a speaker, or just someone who loves to learn new words, these terms are sure to expand your vocabulary and improve your communication skills.

Bricolage

Have you ever had to get creative in order to solve a problem or complete a task? If so, you've engaged in bricolage – a French word that refers to the process of using whatever resources are available to you in order to get the job done.

For example, if you're trying to fix a broken lamp and you don't have the right parts, you might use a paper clip, a rubber band, and a bit of tape to hold it together. That's bricolage in action!

Using the word bricolage can help you describe creative problem-solving or resourcefulness in a more precise and sophisticated way. And it's not just for household repairs – bricolage can apply to all sorts of situations, from business to art to politics.

Incisive

When you need to describe someone or something as sharp or insightful, the word incisive is the perfect choice. It comes from the Latin word "incidere," which means "to cut into," and it refers to the ability to cut through confusion and get to the heart of the matter.

For example, you might say that someone has an incisive mind, or that their comments were incisive and insightful. Or you could describe a piece of writing as incisive, if it cuts through the noise and gets to the point.

Using incisive in your language can help you convey a sense of clarity and precision. It's a great way to show that you've really thought something through and can see it clearly.

Ratiocination

If you want to describe logical, well-reasoned thought, look no further than ratiocination. This word comes from the Latin "ratio," which means "reason," and it refers to the process of using reason and logic to arrive at a conclusion.

For example, you might say that someone used ratiocination to solve a puzzle, or that their argument was based on ratiocination rather than emotion. Ratiocination is a great word to use when you want to show that you've thought something through carefully and come to a logical conclusion.

Apotheosis

Have you ever reached the peak or pinnacle of something? If so, you've achieved apotheosis. This word comes from the Greek "apotheoun," which means "to deify," and it refers to the act of elevating something to the level of a god or goddess.

For example, you might say that someone's success was the apotheosis of their career, or that a particular event was the apotheosis of their efforts. Using apotheosis can help you convey a sense of ultimate accomplishment or excellence – it's a way to really drive home the idea that something has reached its highest possible level.

Regimen

When you need to describe a systematic plan or course of action, the word regimen is the perfect choice. It comes from the Latin "regimen," which means "rule" or "governance," and it refers to the way that something is governed or regulated.

For example, you might say that someone is following a strict regimen in order to get in shape, or that a company has a well-organized regimen for handling customer complaints. Using regimen can help you convey a sense of structure and organization – it's a way to show that something is being done in a deliberate and consistent way.

Conclusion

We hope you've enjoyed this introduction to five uncommon words that can help you express yourself more precisely and accurately. Whether you're looking for a way to describe creative problem-solving, sharp insights, logical thinking, ultimate accomplishment, or a systematic plan, these words have you covered.

Remember, precision in language is crucial for clear communication. Expanding your vocabulary and learning new words is a great way to improve your communication skills and make your writing and speaking more effective. So don't be afraid to try out these uncommon words – you might just find that they're the perfect fit for what you're trying to say.

#Vocabulary #Communication skills #Language learning #Precise language #Uncommon words #Expanding your vocabulary #Writing tips #Speaking tips #Regimen #Apotheosis #Incisive #Bricolage #ChatGPT

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germanpostwarmodern · 2 years ago

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Austrian architect Gunther Wawrik (*1930) regards himself as an architectural tinkerer who deliberately chooses the time-consuming process of constant crafting over intellectual contemplation to find a solution. In 2000 the Fachhochschule München, where Wawrik held a professorship since 1985, dedicated a retrospective exhibition to his work that was accompanied by a small catalogue bearing the fitting title „Gunther Wawrik. Architektur zwischen Bricolage und Instrument“. The latter plays at Wawrik’s working method and its relation to Claude Lévi-Strauss’ definition of the Bricolage as a problem solution derived from available resources and entailing a great deal of improvisation. In his eponymous text included in the catalogue Wawrik elaborates on his passion for the Bricolage and the artisanal. Accordingly the major part of the book not only documents Wawrik’s architectural oeuvre and the many buildings he designed together with his long-term partner Hans Puchhammer but also puts particular emphasis on the details developed by Wawrik. Key buildings like the Grothusen office building in Vienna and the Landesmuseum Burgenland are presented in photos and plans that demonstrate the ingenious details developed by the architects and their intelligent dealing with existing contexts. In his introductory essay architectural critic Otto Kapfinger also sheds light on Wawrik’s great service to the ÖGFA, the Österreichische Gesellschaft für Architektur, which he helped turn into an open discussion forum for contemporary architecture, a transformation that very much represented his own personality.

„Gunther Wawrik. Architektur zwischen Bricolage und Instrument“ is a brief but nonetheless informative overview of an important protagonist of Austrian postwar architecture.

#gunther wawrik #architecture #austria #architecture book #monograph #book #austrian architecture

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victoriajamessl · 1 year ago

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The Beach House Porch

Featuring Bricolage Second Life is another year older and that means it is time for the SL20B Shop & Hop Event. Bricolage is participating with a bunch of great summer furniture and decor all on sale at great prices during the celebration. In addition to the sale items you can grab this Patio Chair which is a free gift. It has male and female sit animations and the pillow is texture change.…

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anosci · 2 years ago

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(91-105 albums etc that I’ve listened to this year, copied from twitter) (now with art. [1] [2] [3] [4] [5] [6] [7] [8])

names and thoughts below cut

91/ KNOWER - Think Thoughts (2011) peppy! bright and loud! well ok that might not be true for every track, but like. slapping those fakebrass chords feels great. shining characteristic.

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92/ Photek - Avalanche / 101 (2011) (i have decided to be extra harsh on dnb) …oh its not dnb. actually this is a case where each track is stronger than the last. i didnt rly care for "Avalanche" but "Slowburn" is hitting HARD.

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93/ Photek - Aviator EP (2011) i guess ive missed a few chapters of photek because this aint dnb. to my ears its hella 2011 but thats not inherently bad. overall i just think this one's ok. it kinda looks like a companion to Avalanche/101, and...sorry but i love that one far more

94/ Kryptic Minds - Can't Sleep (2011) dark! id call it ukdubstep but it clearly isnt. peak nighttime music tho. good shit

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95/ Floating Points - Shadows (2011) the above is possibly the most apt word cloud for the sound of the ep. gentle punch. sleepy even. exactly the level of chillout i need.

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96/ Joseph Nothing Orchestra - Super Earth (2011) joseph nothing has a melodic style that sits just right with me, coupled with a really playful ear for sound design. im happy to see it still hits just as hard a decade after his debut

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97/ Secret Mommy - The Mall (2011) exactly what i remember 2011 sounding like. clicky choppy something. i feel like i enjoy this nostalgically now, instead of directly. like a layer of abstraction. kinda odd to realize.

--- April ---

98/ Towa Tei - Sunny (2011) this feels like that soulful type of uh… what do you call shakatak? that thing. but towa tei. really poppy sometimes. generally all over the place. i'd describe it as "peak sunshine music" which is funny because the album title agrees

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99/ VA - Attaxolotls: Amphibious Fisticuffs Anthology Album (2023) a grab bag of styles and vibes. plenty of slappers. 2 specific hilites that make me want to type exclamation marks: "Arcadia Prime" "Minor Infraction"

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100/ Ryuichi Sakamoto - CHASM (2004) a beautiful album that simultaneously embraces intimate acoustics and some of the dsp trends that ive noticed in 2004. a touch of oval, even? it's a really lovely take. im not a huge fan of the vocals but that's entirely personal preference.

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101/ Ryuichi Sakamoto - Bricolages (2006) remix comp version of CHASM. surprised at how each song has a similar essence, but i unanimously prefer ryuichi's take on the tunes with rapping. that aside, i love how unabashedly ELECTRONIC this feels.

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102/ Asking Alexandria - Stepped Up And Scratched (2011) vocals :\ wobs :) yeah idk im just not vibing with the metal side. the wob side is fun as a nostalgic romp but even then... eh. HOWEVER: "To The Stage (Bare)".

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103/ nagz - Good (2020) the album lives up to its name. future music that you just don't get anywhere else. for me this feels like a sequel to hringur, in that I think that was the last EP to make me feel like this.

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104/ Nondi_ - Flood City Trax (2023) incredibly shocked at how well this fits after nagz, at least in timbre. future sounds. alternatively: it embodies the "for vibin" attitude that early 90s warp/rephlex had, but applies it to modern styles. im into it.

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105/ Selfmademusic - Kinema Ikon Soundtracks Remixed (2008) shimmering, lingering electric soundscapes. hazy, but specifically the warm summer haze that you see on urban roads.

#media thread

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rosemarygeorgiaflutur · 2 years ago

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Review: Chris Marker's "Level Five" (1996)

Combining documentary, narrative fiction, critical essay, and poetry, Level Five (1996) is one of Chris Marker’s many ingenious anomalies. The film follows Laura, a newly widowed computer programmer, as she completes her late husband’s unfinished video game, a task she herself has chosen to take on. Like mourning, it is an enterprise, though a more concrete one. Laura’s grief is an influence but not a detainer: it affects but does not stop her thinking. She adds new truths next to old ones. Time, she declares, is an invisible insect that chronically stings whoever lives. But those stings are not just the pain or nuisance that commonly defines them; they’re also reminders of her humanity. Time is life’s permanent tenor, steadfast and impartial, and there is no stopping it. Not like she is trying to fight it: resignation and curiosity are her framework, and she engages each ache under no illusions. Different interpretations get sowed in the same dirt where others have already been buried. The dead repose beside—and inside—the living. The connotations of this are Laura’s main consideration; or, more precisely, they are Marker’s, who knows the past is veined through each person like a network, too bound up to be undone or circumvented.

A probe of time’s influence on memory and affect, both personally and culturally, is signature Chris Marker, the fulcrum of all his films. So, too, is his inimitable form of expression: enigmatic, fragmentary, and tongue-in-cheek. For Marker, there are no answers, only what patterns can be made from connecting loose ends. In Level Five, he assembles a bricolage of his favoured subjects—Japanese culture, the burgeoning of technology, a world after War—as the foundation from which to explore the never ending question of Time. Typical of Marker too is inventing characters to make his inquiries for him, knowing that fiction can push back on the borders that close in on storytelling when one has to remain faithful to the facts. Not like a common veracity would likely interest Marker anyway, as history is largely an art that strives for perfect truth in the face of great bias. No; Marker’s “gentle mission,” like that of Roland Barthes (as Wayne Kostenbaum writes in the introduction to A Lover’s Discourse) is “to rescue nuance.” For Marker, it has always been about the overlooked, the details that evade the wide angled view: that which pricks, like Barthes’ punctum, or the things that, as underscored in Sans Soleil (1983), quicken Shōnagan’s heart. With fiction, characters that act as proxy for Marker can hone in on elaborate states of feeling—or the nuanced—without eclipsing what is objectively factual. (In his more documentarian films like Grin Without A Cat, nuance is the overlooked subjects he interviews. He often aimed, as he states in a mid-aughts interview, “[t]o try to give the power of speech to the people who don’t have it,” to those who had “no tools to be heard,” and to those neglected by a sole, autocratic narrative.) Marker, like Barthes, wants “an armistice with perception’s systemic injuries” (Koestenbaum): to be free to adapt and dilate that perception. It’s about discovering other worlds while remaining in this one. “Okay, it’s fiction,” Veronique says at the end of fellow New Waver Jean-Luc Godard’s La Chinoise (1967), “but it brings me closer to reality.”

In Level Five Marker invents Laura, played by French actress Catherine Belkhodja. We meet her via the diaristic videos she records while working on the game, all of them a one-sided communion with her dead husband whose name we never learn. Despite the intimacy this implies, we are not alienated as viewers. The videos are mostly philosophical and poetic musings, an out-loud processing, that help her reckon with the labyrinthine game he's left her, the one she alone strives to complete. This strategy-based game, which is also never named, concerns the small Japanese island of Okinawa during the Second World War, and its goal is to offer its players alternative outcomes to the tragic events that unfolded. The real Okinawa was, at the point of Marker’s filming, still embalmed by the brutal trauma of WWII: over the Spring of 1945 the so-called Battle of Okinawa ensued, killing nearly half of Okinawa’s civilian population, with many of the deaths a result of suicide and ritual killings induced by Japanese propaganda. Japan may have moved on by the time of the film’s creation in 1997, bolstered by the country’s obsession with rapidly modernising itself, but to Okinawa’s survivors it remained a lacuna, unaddressed. (“[But] that’s how history advances,” Marker tells us in Sans Soleil, “plugging its memory as one plugs one’s ears.”) There are ways in which this can be rectified, but Marker is more interested in how this institutes a hauntology: the past may be omitted while creating a new future, but it is never absent. As the film moves from footage on Okinawa to Laura in the workroom and back, we see the differences in how this manifests: while Japan will not acknowledge the elephant that haunts its room, Laura holds each fact’s gaze—her husband is dead, her memory of him is fading—even in her desire to turn away. One painfully represses; the other painfully integrates. Only one of these pains has integrity.

Eventually Laura stops working on the game. It’s unclear what stage her grief is at when she does, but there are many indications of the experience having granted her perspectives that will aid her in coming to terms. “I can recognise myself in that little island because my most unique, my most intimate suffering is also the most banal,” she observes at one point. At another, she admits she’s afraid that something “as potent as a song” will no longer be her and her husband’s anymore, but instead “everyone’s to share.” She vocalises her fears to displace them, to see past the pain of another of the insect’s many stings. As time builds without stopping, memory gets subsumed into the large fabric of history, losing not only its potency but its sanctity. It all goes; she is simply being reminded. By the end, Laura has had enough reminders; she’d “come to a limit; beyond it, the game was not hers anymore, nor was history.” She engaged with her wound, asked the questions, felt whatever arose. The limit is an invitation for her own deliverance. Taking the hint, she disappears.

Review of Chris Marker's film "Level Five" (1996), 2022

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nakatani-seminar · 5 months ago

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【解築学ゼミ】2023年度活動報告

はじめまして！2023年後期から中谷研究室の解築学ゼミでゼミ長を努めております、M1関根です！

解築学ゼミの前回の投稿は2023年の5月で止まっており、長らく更新できておりませんでした。今回は改めて解築学ゼミの活動目的と、2023年度の解築学ゼミの成果についてご紹介したいと思います！

設立経緯と活動目的

まずは解築学ゼミの設立経緯と活動目的についてです。

本ゼミでは「解築」という、建築に代わる新たな概念を掲げ、活動しています。これまでの建築は文字通り「建て・築く」ことに集中していました。しかしただ闇雲に建築を続けていけば、建て詰まりとでもいうべき都市の終点を迎えます。そんな中、現在の日本の中心的都市では建築を続けるために、役割を終えた既存建物の解体が頻発しています。

しかしその解体から始まる一連の建築行為には、物質が人間と地球の関係の中でどこから移動してきて、どのように循環していくのかという世界の具体的なイメージが伴っていません。つまり、建築を物質循環の過程として正しく「解いて」、正しく「築く」、そのサイクルを実現する方法や考え方が新たに構築される必要があります。

これを歴史的視点から検討するのが解築学ゼミです。保存／スクラップ＆ビルドの二者択一ではなく、柔軟な空間構築法の理論化を目標とします。

2023 年度の解築学ゼミは「都市流動史」というテーマを掲げ、歴史上の解築的な行為が発生した事例とその社会背景に着目しました。具体的には災害からの復興過程やバラック、スラムにおける生活の構築、廃墟の美学などを対象とし、それらに共通する普遍的な循環構造を取り出すことを目標としました。

2023年度活動成果

成果としては卒業論文5本、修士論文1本が提出されたほか、人間によって構築された物質が自然との関わりの中でどのように様態を変化させるのかを示したダイアグラムを作成しました。人間の空間構築行為にはその最初の段階から自然活動が強く影響しており、両者は不可分なものです。我々が解築と考える行為、現象は、何らかの形で地球の自律運動、すなわち自然摂理と交わった人間行為なのではないかと結論づけました。

最後になりますが、今回紹介した、2023年度の活動内容は『解築学研究 vol.1』として発行しております！こちらでは勉強会の内容やダイアグラムの解説などをより詳細に行っておりますので、ぜひともご確認ください！

▼『解築学Zine Vol.1』

それでは。

また更新します！

#nakasemi #great bricolage #Kaichiku

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niralmylasaravanan · 2 years ago

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I am not a woman, I am a god

My fatal flaw, my hubris, is that I am convinced that no one feels anything as deeply or strongly as I do. No matter how universalizing the experience, it will always stain me the deepest. The smallest flux of emotion tumbles through me like a tsunami. My vision glows in technicolor, neon, and glitter. The earth turns faster, the moon pulls the tides harder, the rustling of butterfly wings screams with vibrance. Sometimes I think I see eighteen trillion shades of blue alone, the ocean, the sky, my best friend’s eyes, all a bricolage of my favorite color.

I burn with rage and resentment, bitter malice builds me up to my highest. But I am also cursed with love so strong I never know where to put it. Caustic charisma and smothering affection run rampant in my veins. I fear I have killed so many hearts with the violence of my love, but I never desire to reign it in.

My years of feeling everything in abundance has washed me out. The thing with being inundated with emotion is that I do not know how to produce the energy to always keep up with it; and so I begin to feel nothing at all. I swing back and forth like a pendulum, my fickle heart forever vanquished to forces out of my control.

The only downfall to my condition is that I am utterly alone. It is cruel that the one thing I have ever asked for is denied me. Humanity will always be a step out of reach; the atoms that fabricate my soul are archaic, cosmic, divine in a way that holds no promise of greatness. So I must plod along, feeling every stroke of the universe send lightning through my neurons, and I must face the wonder of it alone.

It took me years to deduce why I feel this way. After all it is quite solipsistic of me to portray myself as the only one who experiences the complete depth of things. Then I stumbled across the term “intersectionality,” and the frenetic flurry of my mind came to a standstill.

Intersectionality is the theory that the overlap of race, gender, and sexuality affect the perspective and identity of individuals--meaning that people at the crux of intersections have a widened view of the world and the things it has to offer.

As a bisexual Indian-American woman, the concept of intersectionality was a moment of clarity. I understood why I felt like I had done more, seen more, been through more at such a young age. From early in my life I faced prejudice and marginalization for things I did not know made me different, and being exposed to that as a child warped my perception of the world to believe I was the only one who existed in the way that I do.

But that still did not explain my mercuriality or heightened emotional depth capacity. I was diagnosed with depression, anxiety, and ADHD when I was fifteen, and bipolar when I was seventeen. I have been in therapy since my freshman year of high school. I found that intersections apply to mental health and learning disabilities too, and my brain’s way of coping with the added overlaps was by playing vehemently into them. I found solace in my perceived aloneness and played with the stretches of my imagination until I was completely sure that no one could be even similar to me.

I’m older now and I have had a lot more conversations with a lot more people. The times of feeling as though my heart was a single celestial body buoyed by loneliness have dissipated and left me with a sense of independence and belonging. I have stopped weaponizing my uniqueness and started embracing it, using it as my vehicle to cement my place in history.

I have found my place as one in a constellation, a trail of bright stars twining together to form something worthy of myth.

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fabiansteinhauer · 2 months ago

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O idioma do curso deve ser o inglês. Todos os outros idiomas são bem-vindos se acompanhados de uma tradução para o inglês.

História e Teoria de uma lei inconstante e polar

For three hours each of the first three sessions of the lecture (course), I will present what

basic research can be at an institute dedicated to legal history and legal theory, what

impulses for such basic research can come from the work of our colleague Cornelia Vismann, and what

Aby Warburg can provide in terms of methodological and conceptual suggestions for such research.

The first part serves to introduce our institute and its international co-operations (especially with research and teaching in Brazil). There are three departments at the Institute, all of which will be presented, but I will focus on the legal theory department headed by Marietta Auer, in which I myself work with a focus on images, legal science and on juridical cultural techniques. My work takes place in the context of a project entitled Theoriemosaik (Theory Mosaic), which brings together research characterised by an interest in bricolage, aesthetics and historicity.

With "theory mosaic", Marietta Auer takes up ideas from 20th century anthropology, namely the concept of bricolage, which Lévi-Strauss developed in 1962 in his book on wild thinking as part of a branching critique of the dogma of the great separation. In the relevant passages of the book, a clear scepticism emerges towards this idea, which should not be ascribed to the idea of progress (because then they are immediately finished), but rather to a discourse of multiplication, which is more difficult to deal with and which goes hand in hand with the idea of gaining distance, increasing distance, increasing difference or such a taking of distance, which resembles a land grab because it is supposed to go hand in hand with established or evolutionary achievements and, like whitecaps, carries the phrase that one can no longer go back behind certain achievements, that other things (such as art, the state, law, menkind, decorum, similarity, modernity, myth) have come to their end and have been dead and nothing but dead ever since.

Luhmann's Recht der Gesellschaft, with these assumptions that are difficult to handle, leads, according to a preliminary thesis, to the melancholy of the final passages of his book from 1993. One can come to other conclusions, of course, because melancholy is also capricious and polar. Let's take a look, exactly in the time and space where we encounter the tropical creatures and thus associable beings who have long since left their apocalypse behind them.

II.

The anthropologist doubts that the ideas of increasing complexity can be a meaningful research programme. The beginning of Lévi-Strauss' book from 1962 can be read as an objection to the social theory whose stages lead via Durkheim or Weber to Luhmann's idea of increasing complexity and fragmentation. The objection cannot refute anything. It can provide a different perspective in order to give an outlet to obviously pressing questions - all questions that are not fuelled by the assumption that we should be (in) society, but by what it should mean to reproduce people and what it should mean when people reproduce not only human beings, but everything possible (not an unknown question for lawyers who have something to say about everything). Or: how is that supposed to work at all? How are humans supposed to fabricate humans and all sorts of things besides humans?

If there is rampant complexity, then in all directions, i.e. into the centre of the cities and out into the forest and there again into the plant broth from the liana Banisteriopsis caapi, then also towards 2035 AD and towards 2035 BC, then into society and out of society again.

Has it been too long since I read the passages, has my memory distorted something? I remember that the author, who is of limited reliability for a report on Recife (because, although not as strong as Flusser with his 'Prague-Etui' gaze, he lets the snobbish gaze of someone spoilt by Paris dictate the beginning of his journey), has a reliable sense of cosmology, which is as rampant in the small as in the large - and that he does not deny the idea of a great separation in this respect, but is not content with it - and above all does not turn such an idea into a dogma or research programme, for example along the lines of cultural and legal scholars who look for the reasons for the take-off of a society and then consider how they can secure the lead or maintain the achievements.

In my opinion, the anthropological doctrine can be reduced to a simple denominator: Everything that occurs here also occurs there, just in different sequences. In other words: in other sequences of separations, associations and exchange manoeuvres. The concept of bricolage describes the agile, but never indeterminate, but always as changeable as the sharp action that the anthropologist does not simply observe, but which is part of the recursiveness of his operations.

III.

Marietta Auer chooses the term bricolage in the context of the project 'theory mosaic' to emphasise, among other things, that one can, and perhaps even must, think wildly in basic research. Basic research also means dealing with it: You keep on pushing my law over the borderline.

The concept of bricolage has continued and has been translated. I think that something leads from it to de Castro's cannibal metaphysics, for example. We will hopefully be able to investigate what that might be in the course. The anthropologist has not invented anything: The concept of bricolage is preceded by something, for example Warburg's ‘Gestellschieberei', which he also compares to ant trails, we can hopefully pursue that too.

#história e teoria de uma lei inconstante e polar

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jamesgraybooksellerworld · 4 months ago

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Crashaw, Little Gidding, T.S. Eliot, Herbert

“Crashaw is quite alone in his peculiar kind of greatness.” —T. S. Eliot If you came this way,Taking any route, starting from anywhere,At any time or at any season,It would always be the same: you would have to put offSense and notion. While deep in the bricolage stage of his final Quartet: Little Gidding, T.S. Eliot’s journeys to Little Gidding And says that he plans to “shed a few tears over…

#George Herbert #Liddle Gidding #Nicholas Ferrar #Richard Crashaw #T.S. Eliot

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azirelll · 10 months ago

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Hospitality pt. 4 (Story i had no title but now i have it)

"Oh, and also here are the keys, I nearly lost them when I went shopping for groceries" she said while closing the black door of the apartment. For the first time I saw her in something other than an oversized shirt and sweatpants. She was wearing some baggy jeans, a tank top from a rock band I never heard of and my adidas jacket she stole from me because she said it looked comfortable, we almost fought for who would get it. We got out of the apartment complex, the weather was calm and warm like every summer night. The neighborhood was amazing at night, the lights of the houses and streetlights made it look like something out of cyberpunk, or Silent Hill without the Fog. The scenery was great but there was nothing open or interesting. There were the stores nearby like a PC-parts store or a bricolage one, I don't know why I needed to tell this, maybe it's because I'm really bored just like her. "Hey, look at that dark alley" she said with a bored, neutral tone "doesn't that look creepy". I needed a second before noticing that since I was so focused on the music we were listening to while walking, "That looks pretty creepy" I responded. She looked at me, grinned and said: "Want to explore this alley, life is only one after all" "Sure, sure" I respond in my still bored and tired tone. We go into the alley, nothing special happens, the dark alley was one of the streets that connects all the small private gardens. Everything is dark, except for one small garden where I could hear people talking and quiet Italian music playing. As we walk nearby, I can hear the talking more clearly but couldn't quite understand since it was like a gibberish, Italian gibberish. We heard shouting "Ue, do you want a beer?", at first, I didn't think they meant us, but Sally quickly hit my elbow stopping me before declining the offer they made. "Sure, we are coming !!" Sally shouted back with this excited tone. A 40 year old looking guy opened us, he had an angry look, I have the feeling that he is drunk but he has it under full control, very interesting. "Come here, come here, we don't bite after all" another guy said in Italian with this Campanian accent and happy voice. The garden looked beautiful with the lights on, there were some crops here and there, a small place with grass and two greenhouses, a regular one and another made for the let the tomatoes grow. "What do you want" asked to us the first guy, "I have: Corona, Feldschlosschen, Inchiusa..." "I don't mind" I responded. Sally asked for a Corona. The Italian guy asked us what we were doing here this late in his so happy tone, he was shirtless before we came, he quickly put on his shirt when he saw Sally. We said that we were new here and just went for a walk to see the surroundings and that they were pretty boring except for some stores here and there.

"My name is Antonio by the way, BUT you can call me Toto"

Salva: "Oh like Toto De Curtis, the comedian"

Toto: "Yes yes, exactly like him. How do you know him?"

Salva: "Well my father likes to watch old Italian movies like Fantozzi and such and I often watched together with him."

Toto: "You are Italian?" his expression then was curious.

Salva: "Yeah, I am, my name is Salvatore Pontillo, nice to meet you I guess"

Toto: "Pontillo you say?" his expression becomes surprised "Like that Spy or hacker?"

Salva: "\*sigh\* yes my uncle is Angelo Pontillo, it's hard to live with the fact that now people that know are scared of me, especially since I work in the same industry as that thing"

Toto: "Oh no no no, don't worry cumpà, I can fully understand since I am in the Malavita too" he quickly becomes happy again "and I'm not the only one, Cirillo and his son are with me" he slowly turns his head towards Sally and says: "I'm sure you and him would go perfectly together, he is mature and loves animals".

He told us about their "Adventures" while he was still drinking non-stop from his bottle, at one point I thought it was empty and was just sipping it out of muscle memory. They saved a wedding by killing a hitman before he could kill the bosses daughter, did multiple bank heists with the help of my uncle that was like a net runner from cyberpunk with giving them information and disabling cameras, here it was finally clear how he could have afforded his villa at the coast of the sea. One of the most interesting he told us was how they killed someone and then after the mission ended, they took him apart and sold his belongings and organs in the black market and split the money between them. Sally was really fascinated by this and she asked so many questions about this specifically like: How much did they make ?, where did they sell them ?, in the end we exchanged out phone numbers and said we were always welcome here and just to call him if we need something, true Italian spirit what can I say.

In the end Cirillo said: "Enough, he clearly lost his mind, I think you should go, it's getting too late", his voice was deep, he didn't sound angry or annoyed just neutral but with authority. "Alright, till somewhen I guess" said Sally with this still friendly and happy tone. Toto raised his hand to tell us goodbye while he was laying in his chair. Cirillo wanted to take us home, he was concerned that something might happen to us on the way home. "But its 20 minutes away from here, are you sure you want that and what about your son?" I said to him while waiting for him outside the garden. He responded: "My son is safe, at home, sleeping, but you aren't, and I don't trust these surroundings at these hours". That was very sweet if him. While we were walking back home Sally texted me on WhatsApp with just the text "I'd smash, spank my ass, break me, he looks like a mix of a Greek and Norse god" with bunch of those heart eyes emojis. Damn it she was in heat at that moment, her smile was unique I that moment.

"Stay away from that Pub" Cirillo said while pointing to the backdoor of that Pub "The Russian Mafia isn't as forgiving as the Italian". Suddenly we heard a troubled noise from there, the noise of people arguing and wall slamming getting louder. Cirillo laid his hand on his baton holster ready for something to happen. The door opened, someone fell out, he looked disoriented and dirty from the fall, he had short hair and wore a Sabaton T-shirt, a long trench coat like the ones they wore in the First World War and shorts. Someone said with a Ukrainian accent: "Next time I will break your fucking knees", the voice was coming from the same door that poor guy fell out. He slowly stood up, wiped the dirt from his clothes and slowly walked towards us. I could tell that he was a friendly person from his expression and how relaxed he walked to us. "Cirillo, what are you doing here at this time? and who are those little guys" He asked to Cirillo, with a southern US accent. Cirillo replied: "They are friends, and they know about the crime life". "I see, I see" he paused a moment before continuing "Call me Payton, I just sell those guy weapons and all kind of crazy stuff, the definition of dark web personally, since I'm the only one in the region to have fully anonymous access to it." My Eyes sparked and I cheerfully asked him: "So you managed to bypass multiple layers of the best security in Europe?" He responded: "Yes, you know your way with those stuff dude" "It's my field of study after all, or it was, I still do it in the free time I just do it happier now since I don't have all the pressure." I responded back, he nodded as form of understanding. Payton joined us, since he was heading home too after what happened, I asked him if he needed help, but he said he's fine. Sally was talking about journaling with Cirillo, it helps them both to meditate and have their emotions under control. We chatted a lot on the way home about how the neighborhood is and the people around here. They told us about the current problem with mafia in the area and how it got the attention of the government just now since it got way too serious.

We came home, tired, it was 3am. Sally and I noticed families just coming back from holidays, possibly from Italy like I used to. Cirillo left us both at our apartment complex and told us goodbye and stay safe, the usual stuff. Payton stayed "Aren't you going with him?" I asked him kindly, he walks inside, opens the door with his keys and walks to the elevator before he says: "Guys, I literally live above you, bye see you somewhere" the elevator doors closed. We took out our keys, opened our door and walked inside, while we did this it was strangely quiet, way too quiet. Because we were really tired, we didn't do anything else, just wore more comfortable clothes and lay in bed.

The sleep I got felt like a minute, but more hours passed since I woke up full of energy which is kind of strange since I fucked my sleep schedule yesterday, the only "downside" was that I woke up on 12am. Sally was still sleeping this time really. Since she left me some brownies yesterday, I was thinking about repaying the favor by making some scrambled eggs for her too this morning for breakfast. I closed the door before cooking, so the smell or noise goes into the Bedroom and beginning to cook. Before cooking I turned on the TV and started Spotify and put it on my chill playlist. She woke up, she didn't tell me anything, just looked at me weirdly and said: "You have a lot to explain to me". I was stirring the eggs while she said that, I had the feeling that I did something bad but at the same time not because I didn't do anything at all, after a few seconds I say: "What do I need to explain ?", she said in a semi-angry tone: "Like how I knew the nephew of one of the hackers of the Camorra, for 3 months, and that he himself was a hacker." While still stirring the eggs, my hand was shaking: "Exactly I was a hacker, means I stopped doing it" I responded. "I'm not mad, just shocked and surprised to know, I kept myself distracted from it by talking to Cirillo, but anyways that's cool". She took a sip from her coffee she made while we were talking: "So, why did you stop with that?". I explained her: "I stopped because of my girlfriend, and I just started because I was bored during quarantine and wanted to learn something new" "That's... cool..." she responded back, I knew she was still tired so she couldn't really still process what I said. Suddenly she hinted: "So if I was about to commit a murder, you wouldn't call the cops, would you?". This question was very random and weird, a part of me thought she was joking but another was saying that she was about to do that, after all she looked like she would do that. I replied: "No I don't think so, I think I would even help you hide the body" after a moment she sat on the couch and turned off the music I added: "You don't really mean it do you, you wouldn't kill me right just to sell me on the black market then ?" she replied with a tired tone: "of course I'm not killing you, why do you think that ?" "No nothing just asking".

Sometime flew from that conversation that morning, we were for our own things. Sally was revising her notes in the office, she said she wanted to go to school again and study something like biology of chemistry. The office looked pretty professional and big, another desk and a chair would fit just fine. I also noticed some extra ethernet and phone outlets, probably this room had servers in it, or someone had fun. I laid in bed for some time before I realized I still had some paper to fill out about moving here. I also reminded Sally of it she said she is going to do her papers after she finished revising, even though she is revising she seems relaxed and worriless now.

I needed an hour before I finished doing those. On groceries we are good, on furniture also and the papers are filled I just need to bring these on to the post office and send them. "Crazy that we got everything done in just a few days" Sally chirped. I responded: "Don't be too happy now, I'm sure there are still a lot more papers to fill out that are coming" her expression quickly changed from happy and relieved to frustrated. "But look, at least we are not getting everything at once." I added to lighten up the mood a bit.

It was night time. No, nothing special happened this time I didn't tell anything about my day, I just went to the post office, sent some papers and came back. Long story short: it was a pretty boring day, but I will never forget the conversation I had with Sally and the people we met yesterday. I was lying in bed about to sleep, Sally was also with me reading a manga. There I asked her: "Did you really mean that this morning? about murder?" She looked at me with her eyes wide open like she thought I would forget about it, but luckily, I didn't. She said perplexed: "I did really mean it, Toto's story gave me an idea for a plan B if things would get through but it will be over once we have the money I promise" "I'm not mad or shocked, just curious" I said "We can say, my intrusive thoughts need to me satiated". I couldn't quite recognize the expression on her face, it was a mix between happiness and surprise. She gushed and said: "Thank you for being like me", I took that to heart, I never heard that. I lay my phone on the wireless charger on the night table like I do every night and say: "Good night".

OMFG i finally found the title. I FOUND THE TITLE I FOUND THE TITLE I FOUND THE TITLE

#beginner writer #genderbend #writing #english is not my first language #english is not my native language

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that-banhus · 2 years ago

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#PLEASE tell me about the 7th century poetry I would LOVE the characters to make out about references

THANK YOU @fancy-rock-dove you’re the best and I’m delighted you asked.

I added a read-more for everyone’s eyeballs’ sake.

SO, Caedmon’s Hymn is a snippet of poetry in Bede’s Historia Ecclesiastica, an 8th c. history of the British Isles. This bit is debateable, because Bede (a monk at Wearmouth-Jarrow in Northern England) offers a translation of the poem into Latin, but not the original Old English, and the interlinear glosses we have for the poem in Old English are in later manuscripts, but nominally Caedmon is exceptional for being the first named poet we have in the English language.

I say poet, though that’s actually a fairly loaded term. Caedmon gets SUPER popular in the Victorian era, when translations of Old English poetry really get going, and England’s feeling very anxious over its lack of a national epic to hold up next to the Aenid, or the Divine Comedy, or any of those Italian classics they’re moving away from as a nation because Rome is passé. People are making arguments that Caedmon, who is old enough to be respectable, actually inspired Chaucer (no), invented iambic pentameter (very no), and served as a basis for Milton’s Paradise Lost (no, but more complicated - Milton may have been inspired by some of the Old English poems in the Junius manuscript of Old English biblical poems, erroneously ascribed to Caedmon at the time.)

Anyway, all the poets bopping about trying to project English poetry back to the 8th c. refer to him as a poet in order to distance him from Bede’s context: Caedmon was a lay monk who couldn’t sing, and felt very excluded from the community, and one evening as all the other monks were singing, he went into the stable to cry, fell asleep, and had a vision of an angel who told him to sing of creation. And then he did! And became a great hymnodist! Miracle!

The parts of this that the Victorians liked were: divine inspiration, NAMED origin of English verse, and English poetry being handed over directly from God. In a stable. Infer metaphor here. The parts they didn’t like were: Catholicism, focus on the monastic community, the fact that Caedmon was a hymnodist specifically, which was seen as significantly less classy than being a poet. So Caedmon just gets called a poet.

HOWEVER, after WWI, rather than trying to scrape the objectionable religious bits off in order to serve a collective national narrative about religion and poetry, Caedmon becomes a vehicle for poets to examine their own relationship with religion and the creative process in what religious scholar Grace Davie refers to as the 20th c. tendency towards ‘spiritual bricolage.’ That is, picking and choosing religious elements that appeal to you.

Norman Nicholson, in his poem Caedmon, recasts Caedmon’s work as a laborious, terrifying process requiring him to face mortality, in rebuke to Romantic/Victorian ideas of the creative process being the muse handing you a harp.

My best girl, Denise Levertov, focuses on her own conversion to Catholicism, bringing Caedmon back to Bede’s narrative, by emphasising the importance of both the joy of inclusion, and of song - and the creative process - to a community. Full circle!

Levertov’s poem is here: http://www.southernhumanitiesreview.com/denise-levertov-caedmon.html

Aziraphale and Crowley reading Levertov, tempting Caedmon, and then, as promised, making out furiously, are here: https://archiveofourown.org/works/19876180

people who don't know anything about academics: man y'all are stuffy and boring what's up with that? actual academics: *too busy fist-fighting each other over the beryllium problem or the existence of a dentistry profession in ancient egypt to reply*

#you're the best for asking #i wrote this fic and my ma concurrently #and just put all my levertov feelings there where they were safe

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