The document provides an overview of anarchist theories and practices of space through a discussion of rural and urban spaces. It examines the enclosure of commonly held rural land and the rationalization of medieval cities. It then discusses Pierre-Joseph Proudhon's vision of a decentralized federation and opposition to territorialism. Finally, it outlines Joseph Déjacque's utopian vision of the future "Humanisphere" - a unified global city made possible through advances in transportation and communication.
The document discusses incorporating narrative elements into ceramic art. It explores various approaches to finding visual narratives, including seeing shapes in random textures. It discusses several 20th century art movements like Funk Art that focused on personal expression over social messages. Various ceramic artists like Rudy Autio and Joan Miro are cited that explored narrative and symbolic imagery in their work. The goal is to map narratives onto ceramic surfaces through techniques like glazing and projections to create diverse explorations.
Subterranean urban politics: Insurgency, sanctuary, exploration and tourismStephen Graham
A presentation, drawing on my book 'Vertical', exploring the politics of the urban subterranean. The wide-ranging discussion explores the subterranean as a source of class threats and insurrections; as a sanctuary; as a space of exploration; and as a site for tourism.
This document discusses the difficulty in defining Victorian realism. It notes that while realism seems easy to grasp as depicting realistic or lifelike subjects, scholars have offered many definitions and realist novels often mixed realist and non-realist elements. The document examines explanations for the rise of realism, including responding to historical changes in the 19th century and exploring questions about how reality and truth can be known. However, it concludes that realism defies a single fixed definition and is best understood as a "syndrome" or collection of overlapping features.
Andromache is Hector's wife in Greek mythology who is a prominent figure representing the tragic fate of losing family. Throughout literature and art, Andromache is depicted as a passionate wife and mother who is desperate after Hector's death, becoming a symbol of the woman separated from her loved ones. She maintains her dignity and strength of character despite becoming a slave after Troy falls. Andromache represents an early step toward a more modern female figure as she is also involved in defending Troy rather than confined to domestic duties alone.
The document discusses dystopian literature and its characteristics. Dystopian literature refers to stories about unpleasant or repressed societies that are often portrayed as utopian. The main ideas in dystopian works include the use of propaganda to control citizens, restricted information and freedom, worshipping a figurehead or concept, constant surveillance, fear of the outside world, dehumanization, banning the natural world, enforcing conformity, and portraying society as a perfect utopia while hiding its flaws. These ideas are seen in the real world through examples like propaganda in political elections, restricted freedom under regimes like Hitler's and in North Korea, citizens trying to escape conflict in Syria, and questioning political systems through civil wars.
Genre refers to the categories used to classify different types of media based on their characteristics and conventions. There are typically rigid genres that stick closely to audience expectations, like horror and comedy, and more flexible genres that push boundaries, like romantic comedies. Genres help audiences understand what to expect from a media work and producers know how to craft their media to meet or challenge those expectations. Dystopian genres specifically depict bleak, frightening futures and are often used to make commentary on current social issues.
This document discusses elements of dystopian literature and compares them to real-life situations. It notes how genetically engineered animals have escaped captivity in works of fiction, similar to how modified crops are now grown. Several examples are given of consolidated agricultural systems and the risks of failures. The ability of governments to monitor civilians through technology mirrors concepts from books like 1984. While some modified foods are deemed safe, integrating human DNA into animals remains in the realm of fiction. Advancing food technologies also reflect realities.
The document discusses marketing strategies for the film "Eat the Rich". It would initially be released exclusively at an independent cinema to generate buzz. After two weeks, it would be released online to appeal to younger audiences. Positive reviews from credible critics would be promoted on social media. The film's characters represent different social classes to engage the target middle-class audience. The trailer uses unique editing to portray differences between the rich and poor. A magazine profile would feature circular images of wealthy and poor areas to accentuate class divides.
The document discusses incorporating narrative elements into ceramic art. It explores various approaches to finding visual narratives, including seeing shapes in random textures. It discusses several 20th century art movements like Funk Art that focused on personal expression over social messages. Various ceramic artists like Rudy Autio and Joan Miro are cited that explored narrative and symbolic imagery in their work. The goal is to map narratives onto ceramic surfaces through techniques like glazing and projections to create diverse explorations.
Subterranean urban politics: Insurgency, sanctuary, exploration and tourismStephen Graham
A presentation, drawing on my book 'Vertical', exploring the politics of the urban subterranean. The wide-ranging discussion explores the subterranean as a source of class threats and insurrections; as a sanctuary; as a space of exploration; and as a site for tourism.
This document discusses the difficulty in defining Victorian realism. It notes that while realism seems easy to grasp as depicting realistic or lifelike subjects, scholars have offered many definitions and realist novels often mixed realist and non-realist elements. The document examines explanations for the rise of realism, including responding to historical changes in the 19th century and exploring questions about how reality and truth can be known. However, it concludes that realism defies a single fixed definition and is best understood as a "syndrome" or collection of overlapping features.
Andromache is Hector's wife in Greek mythology who is a prominent figure representing the tragic fate of losing family. Throughout literature and art, Andromache is depicted as a passionate wife and mother who is desperate after Hector's death, becoming a symbol of the woman separated from her loved ones. She maintains her dignity and strength of character despite becoming a slave after Troy falls. Andromache represents an early step toward a more modern female figure as she is also involved in defending Troy rather than confined to domestic duties alone.
The document discusses dystopian literature and its characteristics. Dystopian literature refers to stories about unpleasant or repressed societies that are often portrayed as utopian. The main ideas in dystopian works include the use of propaganda to control citizens, restricted information and freedom, worshipping a figurehead or concept, constant surveillance, fear of the outside world, dehumanization, banning the natural world, enforcing conformity, and portraying society as a perfect utopia while hiding its flaws. These ideas are seen in the real world through examples like propaganda in political elections, restricted freedom under regimes like Hitler's and in North Korea, citizens trying to escape conflict in Syria, and questioning political systems through civil wars.
Genre refers to the categories used to classify different types of media based on their characteristics and conventions. There are typically rigid genres that stick closely to audience expectations, like horror and comedy, and more flexible genres that push boundaries, like romantic comedies. Genres help audiences understand what to expect from a media work and producers know how to craft their media to meet or challenge those expectations. Dystopian genres specifically depict bleak, frightening futures and are often used to make commentary on current social issues.
This document discusses elements of dystopian literature and compares them to real-life situations. It notes how genetically engineered animals have escaped captivity in works of fiction, similar to how modified crops are now grown. Several examples are given of consolidated agricultural systems and the risks of failures. The ability of governments to monitor civilians through technology mirrors concepts from books like 1984. While some modified foods are deemed safe, integrating human DNA into animals remains in the realm of fiction. Advancing food technologies also reflect realities.
The document discusses marketing strategies for the film "Eat the Rich". It would initially be released exclusively at an independent cinema to generate buzz. After two weeks, it would be released online to appeal to younger audiences. Positive reviews from credible critics would be promoted on social media. The film's characters represent different social classes to engage the target middle-class audience. The trailer uses unique editing to portray differences between the rich and poor. A magazine profile would feature circular images of wealthy and poor areas to accentuate class divides.
Slides from my Ignite presentation at DemoCamp20. They make a lot more sense if you read the story that goes along with them at http://adam.goucher.ca/?p=940. All the photo credits are available at http://adam.goucher.ca/?p=985.
The document discusses several influential dystopian novels including 1984, Brave New World, and Fahrenheit 451. It summarizes the key events and themes of each novel, such as totalitarian control in 1984, engineered happiness through loss of individuality in Brave New World, and censorship through book burning in Fahrenheit 451. Each novel served as a cautionary tale about modern societal trends and reflected the authors' concerns about issues like totalitarianism, mass conformity, and censorship.
This document discusses several philosophical concepts relating to individualism and collectivism that are often explored in dystopian literature. It examines the ideas of individualism, which focuses on individual rights and independence, and collectivism, which requires the subjugation of individuals to the group. The document also analyzes the concepts of altruism, which demands self-sacrifice for the greater good, conformity to social rules and obedience to authority. Egoism prioritizes individual welfare, while independence values forming one's own judgments. These concepts are central themes that dystopian societies may encourage or discourage.
I presented this at the Annual Meeting of the New England Philosophy Education Society on October 22, 2011 at Central Connecticut State University in New Britain, Connecticut.
Some of the key challenges in enterprise-architecture revolve around designing for uncertainty. This presentation for the Integrated-EA 2013 conference (Defence-oriented enterprise-architecture) explores four 'anarchist' principles that can be used for guidance in those challenges:
#1: There are no rules - only guidelines;
#2: There are no rights - only responsibilities
#3: Money doesn't matter - but values do
#4: Adaptability is everything - but don't forget the values
The document discusses genres in film. It defines genre as a "type" or "kind" of film that provides audiences information about what to expect in terms of iconography and conventions. Genres can be rigid, adhering closely to conventions for mainstream appeal, or flexible, with more artistic freedom for niche, independent films. The document also discusses how genres have evolved over time, with subgenres, hybrids, and mixing of conventions allowing more creative expression within established frameworks. Quentin Tarantino's films are used as an example of mixing genres conventions in unique ways that challenge expectations and require active audience interpretation.
The document discusses conventions of the post-apocalyptic genre in film. It notes that the genre depicts the end of the world through disasters that destroy modern civilization. Common conventions include survivors banding together, abandoned and dangerous settings with limited resources, and a focus on survival against deadly threats. The target audience is typically older teens and young adults who find themes of darkness and violence appealing. While many post-apocalyptic films follow conventions like community, isolation, and death, the author proposes a film with only two scientist survivors living in fear and accepting their new reality, with one eventually dying to the virus.
This document provides brief summaries of common film genres, including action, comedy, coming of age, dystopian, horror, romance, adventure, detective, thriller, western, sci-fi, animated, period/historical, and musical films. For each genre, it lists some typical elements like settings, characters, themes, cinematography techniques, and storylines. For example, action films often feature chase scenes, villains, fights, explosions, and fast-paced music. Comedy films commonly take place in schools or homes and use physical humor, props, and contrasting intelligent and average characters. Coming of age films focus on teenagers and their experiences in high school and growing up.
Slide show prepared for a series of lectures on Anarchism for PS 240 Intro to Political Theory at the University of Kentucky, Fall 2007. Dr. Christopher S. Rice, Lecturer.
A Philosophical Introduction to Anarchismjessecohn
Anarchism advocates for a stateless society without hierarchies or centralized forms of coercive government. It envisions self-governed communities and organizations that are voluntarily coordinated through direct democracy and non-hierarchical decision-making. Anarchists oppose all forms of domination and instead support freedom, equality, and cooperation. They argue for extending democratic principles from political systems into other areas of society, including the economy and education.
The document appears to be instructions for students on writing dialogue in stories. It provides 5 basic rules: 1) Start a new paragraph for each new speaker. 2) Keep dialogue brief. 3) Place terminal punctuation inside quotation marks. 4) Use a comma between dialogue and the tag line. 5) Set off tag lines that interrupt a sentence with commas and lowercase the following letter. The document also includes examples demonstrating each rule.
This document discusses the key elements of dystopian and post-apocalyptic fiction. It defines dystopias as undesirable or frightening societies characterized by totalitarian governments and dehumanization. Dystopias can be caused by environmental, political, economic or technological factors. Post-apocalyptic fiction is set after a disaster that destroyed civilization, such as nuclear war, plague, or climate change. Important aspects of these stories include their settings, the struggles of characters to survive and adapt, and whether sanctuaries can be located amid the ruined world. Authenticity and consistency in the fictional world are also emphasized.
Punctuating Quotations and Writing Dialogue in Narrative Writingjfreisen
This slideshow review the procedures for punctuating quotations and writing dialogue. For dialogue, I have used comic strips to model the idea of descriptive dialogue and adding a sense of movement to a narrative. Graphics include Star Wars and Hagar the Horrible.
The document defines dystopia as a fictional, future society that maintains an illusion of perfection through oppressive control. It then lists characteristics of dystopian societies in literature, including the use of propaganda to control citizens, restricted freedom and information, worship of a figurehead/concept, constant surveillance of citizens, citizens living in fear of the outside world and in a dehumanized state, conformity to uniform expectations with individuality and dissent seen as bad, and the illusion that society presents a perfect utopia. The document concludes by presenting several value statements about dystopian themes for readers to consider.
The document outlines three rules for punctuating and formatting dialogue: 1) Use quotation marks around direct quotes; 2) Periods and commas go inside the closing quotation mark; 3) Start a new paragraph every time the speaker changes and indent the new line. It provides examples showing Mrs. Huff scolding her students about their assignment being due Monday and reminding them of the deadline.
This document provides an overview of dialogue and what constitutes a good dialogue. It defines dialogue as a conversation between two or more people with a purpose, that is civilized, democratic, and constructive. A good dialogue involves presenting one's own facts and considering others' facts to seek understanding through alternatives in order to reach decisions. It should not be a monopoly where conversation is one-sided, but rather ideas and facts should be examined from multiple points of view. A praiseworthy dialogue shows respect for others' opinions and tries to understand their real thoughts, rather than just focusing on mistakes. It takes intelligence to recognize and admit the excellence in others' ideas.
This document provides rules and guidelines for writing dialogue in stories:
- Dialogue is direct conversation between characters that reveals their thoughts, feelings, and personalities.
- Each time the speaking character changes, start a new paragraph and indent.
- Enclose the spoken words in quotation marks and place end punctuation inside the marks.
- Use commas to separate the speaker tag from the spoken words, unless the dialogue ends with a question mark or exclamation point.
- If dialogue is interrupted, end the first part with quotation marks and begin the second with quotation marks.
The document provides guidance on using effective dialogue in creative writing. It discusses using dialogue to show character, advance the story, and create subtext through implied meaning beyond what is literally said. Specific details, natural formatting, and avoiding unnecessary tags are emphasized to make dialogue believable and engaging for readers.
Dystopian Literature, Millennials, and TeachingGordon Harvey
This document discusses how teaching methods may need to change to better engage millennial students. Millennials grew up with technology and have high expectations for teamwork and challenge. However, they also desire structure and protection. Dystopian stories popular with millennials externalize their internal struggles under authoritarian control and desire for independent thought. While resistance to change exists, teachers should consider providing community, feedback, and diverse learning to match millennial students' strengths and address their pressures.
Dress Like an Architect, Think Like an Anarchist | Pro-Walk Pro-Bike Pro-Plac...Andy Boenau
If human-scale design is so great, then why aren’t communities demanding immediate change at local government offices across the country? It’s not enough to deliver great design. The 21st century designer needs to master (1) wardrobe and (2) storytelling.
Wardrobe. You’re a cyclist, we get it. But normal people are terrified by your approach. They call you the Spandex Mafia behind your back. Blend in as best you can with planners, architects, and urban designers who are responsible for brutalist, car-oriented atrocities. The general public needs to assume you’re part of the modernist regime before you point out that the Infrastructure Emperor isn’t wearing any clothes.
Storytelling. People don’t need facts, they need an emotional connection. Most of us weren’t trained to communicate like advertisers. We’re completely unqualified to be digital marketers – and yet that’s how we can persuade the general public. Voices in your head will fill you with doubt. Don’t succumb to the devil’s advocate. You have disruptive and socially radical messages to share with mainstream culture!
Dress like an architect, think like an anarchist. That’s the secret to success for the 21st century designer.
***
Originally presented in Vancouver, BC during Pro-Walk/Pro-Bike/Pro-Place. Check out #walkbikeplaces on social media for more.
This document is the Communist Manifesto written by Karl Marx and Friedrich Engels. It outlines the rise of the bourgeoisie and the proletariat in modern capitalist society. The bourgeoisie established new social classes and conditions of oppression through industrialization and the rise of capitalism. This created a division between the bourgeoisie who own private property and the means of production, and the proletariat who must work for wages. The Manifesto argues that a revolution is inevitable as the contradictions between the bourgeoisie and proletariat intensify.
Presidential Papers Confidential To Be ShreddedChuck Thompson
We recently got our hands on Presidential papers that were set to be shredded but somehow escaped the shredder. We are calling this the spoof scandal. You won't believe what these papers contain.
Slides from my Ignite presentation at DemoCamp20. They make a lot more sense if you read the story that goes along with them at http://adam.goucher.ca/?p=940. All the photo credits are available at http://adam.goucher.ca/?p=985.
The document discusses several influential dystopian novels including 1984, Brave New World, and Fahrenheit 451. It summarizes the key events and themes of each novel, such as totalitarian control in 1984, engineered happiness through loss of individuality in Brave New World, and censorship through book burning in Fahrenheit 451. Each novel served as a cautionary tale about modern societal trends and reflected the authors' concerns about issues like totalitarianism, mass conformity, and censorship.
This document discusses several philosophical concepts relating to individualism and collectivism that are often explored in dystopian literature. It examines the ideas of individualism, which focuses on individual rights and independence, and collectivism, which requires the subjugation of individuals to the group. The document also analyzes the concepts of altruism, which demands self-sacrifice for the greater good, conformity to social rules and obedience to authority. Egoism prioritizes individual welfare, while independence values forming one's own judgments. These concepts are central themes that dystopian societies may encourage or discourage.
I presented this at the Annual Meeting of the New England Philosophy Education Society on October 22, 2011 at Central Connecticut State University in New Britain, Connecticut.
Some of the key challenges in enterprise-architecture revolve around designing for uncertainty. This presentation for the Integrated-EA 2013 conference (Defence-oriented enterprise-architecture) explores four 'anarchist' principles that can be used for guidance in those challenges:
#1: There are no rules - only guidelines;
#2: There are no rights - only responsibilities
#3: Money doesn't matter - but values do
#4: Adaptability is everything - but don't forget the values
The document discusses genres in film. It defines genre as a "type" or "kind" of film that provides audiences information about what to expect in terms of iconography and conventions. Genres can be rigid, adhering closely to conventions for mainstream appeal, or flexible, with more artistic freedom for niche, independent films. The document also discusses how genres have evolved over time, with subgenres, hybrids, and mixing of conventions allowing more creative expression within established frameworks. Quentin Tarantino's films are used as an example of mixing genres conventions in unique ways that challenge expectations and require active audience interpretation.
The document discusses conventions of the post-apocalyptic genre in film. It notes that the genre depicts the end of the world through disasters that destroy modern civilization. Common conventions include survivors banding together, abandoned and dangerous settings with limited resources, and a focus on survival against deadly threats. The target audience is typically older teens and young adults who find themes of darkness and violence appealing. While many post-apocalyptic films follow conventions like community, isolation, and death, the author proposes a film with only two scientist survivors living in fear and accepting their new reality, with one eventually dying to the virus.
This document provides brief summaries of common film genres, including action, comedy, coming of age, dystopian, horror, romance, adventure, detective, thriller, western, sci-fi, animated, period/historical, and musical films. For each genre, it lists some typical elements like settings, characters, themes, cinematography techniques, and storylines. For example, action films often feature chase scenes, villains, fights, explosions, and fast-paced music. Comedy films commonly take place in schools or homes and use physical humor, props, and contrasting intelligent and average characters. Coming of age films focus on teenagers and their experiences in high school and growing up.
Slide show prepared for a series of lectures on Anarchism for PS 240 Intro to Political Theory at the University of Kentucky, Fall 2007. Dr. Christopher S. Rice, Lecturer.
A Philosophical Introduction to Anarchismjessecohn
Anarchism advocates for a stateless society without hierarchies or centralized forms of coercive government. It envisions self-governed communities and organizations that are voluntarily coordinated through direct democracy and non-hierarchical decision-making. Anarchists oppose all forms of domination and instead support freedom, equality, and cooperation. They argue for extending democratic principles from political systems into other areas of society, including the economy and education.
The document appears to be instructions for students on writing dialogue in stories. It provides 5 basic rules: 1) Start a new paragraph for each new speaker. 2) Keep dialogue brief. 3) Place terminal punctuation inside quotation marks. 4) Use a comma between dialogue and the tag line. 5) Set off tag lines that interrupt a sentence with commas and lowercase the following letter. The document also includes examples demonstrating each rule.
This document discusses the key elements of dystopian and post-apocalyptic fiction. It defines dystopias as undesirable or frightening societies characterized by totalitarian governments and dehumanization. Dystopias can be caused by environmental, political, economic or technological factors. Post-apocalyptic fiction is set after a disaster that destroyed civilization, such as nuclear war, plague, or climate change. Important aspects of these stories include their settings, the struggles of characters to survive and adapt, and whether sanctuaries can be located amid the ruined world. Authenticity and consistency in the fictional world are also emphasized.
Punctuating Quotations and Writing Dialogue in Narrative Writingjfreisen
This slideshow review the procedures for punctuating quotations and writing dialogue. For dialogue, I have used comic strips to model the idea of descriptive dialogue and adding a sense of movement to a narrative. Graphics include Star Wars and Hagar the Horrible.
The document defines dystopia as a fictional, future society that maintains an illusion of perfection through oppressive control. It then lists characteristics of dystopian societies in literature, including the use of propaganda to control citizens, restricted freedom and information, worship of a figurehead/concept, constant surveillance of citizens, citizens living in fear of the outside world and in a dehumanized state, conformity to uniform expectations with individuality and dissent seen as bad, and the illusion that society presents a perfect utopia. The document concludes by presenting several value statements about dystopian themes for readers to consider.
The document outlines three rules for punctuating and formatting dialogue: 1) Use quotation marks around direct quotes; 2) Periods and commas go inside the closing quotation mark; 3) Start a new paragraph every time the speaker changes and indent the new line. It provides examples showing Mrs. Huff scolding her students about their assignment being due Monday and reminding them of the deadline.
This document provides an overview of dialogue and what constitutes a good dialogue. It defines dialogue as a conversation between two or more people with a purpose, that is civilized, democratic, and constructive. A good dialogue involves presenting one's own facts and considering others' facts to seek understanding through alternatives in order to reach decisions. It should not be a monopoly where conversation is one-sided, but rather ideas and facts should be examined from multiple points of view. A praiseworthy dialogue shows respect for others' opinions and tries to understand their real thoughts, rather than just focusing on mistakes. It takes intelligence to recognize and admit the excellence in others' ideas.
This document provides rules and guidelines for writing dialogue in stories:
- Dialogue is direct conversation between characters that reveals their thoughts, feelings, and personalities.
- Each time the speaking character changes, start a new paragraph and indent.
- Enclose the spoken words in quotation marks and place end punctuation inside the marks.
- Use commas to separate the speaker tag from the spoken words, unless the dialogue ends with a question mark or exclamation point.
- If dialogue is interrupted, end the first part with quotation marks and begin the second with quotation marks.
The document provides guidance on using effective dialogue in creative writing. It discusses using dialogue to show character, advance the story, and create subtext through implied meaning beyond what is literally said. Specific details, natural formatting, and avoiding unnecessary tags are emphasized to make dialogue believable and engaging for readers.
Dystopian Literature, Millennials, and TeachingGordon Harvey
This document discusses how teaching methods may need to change to better engage millennial students. Millennials grew up with technology and have high expectations for teamwork and challenge. However, they also desire structure and protection. Dystopian stories popular with millennials externalize their internal struggles under authoritarian control and desire for independent thought. While resistance to change exists, teachers should consider providing community, feedback, and diverse learning to match millennial students' strengths and address their pressures.
Dress Like an Architect, Think Like an Anarchist | Pro-Walk Pro-Bike Pro-Plac...Andy Boenau
If human-scale design is so great, then why aren’t communities demanding immediate change at local government offices across the country? It’s not enough to deliver great design. The 21st century designer needs to master (1) wardrobe and (2) storytelling.
Wardrobe. You’re a cyclist, we get it. But normal people are terrified by your approach. They call you the Spandex Mafia behind your back. Blend in as best you can with planners, architects, and urban designers who are responsible for brutalist, car-oriented atrocities. The general public needs to assume you’re part of the modernist regime before you point out that the Infrastructure Emperor isn’t wearing any clothes.
Storytelling. People don’t need facts, they need an emotional connection. Most of us weren’t trained to communicate like advertisers. We’re completely unqualified to be digital marketers – and yet that’s how we can persuade the general public. Voices in your head will fill you with doubt. Don’t succumb to the devil’s advocate. You have disruptive and socially radical messages to share with mainstream culture!
Dress like an architect, think like an anarchist. That’s the secret to success for the 21st century designer.
***
Originally presented in Vancouver, BC during Pro-Walk/Pro-Bike/Pro-Place. Check out #walkbikeplaces on social media for more.
This document is the Communist Manifesto written by Karl Marx and Friedrich Engels. It outlines the rise of the bourgeoisie and the proletariat in modern capitalist society. The bourgeoisie established new social classes and conditions of oppression through industrialization and the rise of capitalism. This created a division between the bourgeoisie who own private property and the means of production, and the proletariat who must work for wages. The Manifesto argues that a revolution is inevitable as the contradictions between the bourgeoisie and proletariat intensify.
Presidential Papers Confidential To Be ShreddedChuck Thompson
We recently got our hands on Presidential papers that were set to be shredded but somehow escaped the shredder. We are calling this the spoof scandal. You won't believe what these papers contain.
The document summarizes and compares the landscapes depicted in the dystopian novels Brave New World and Nineteen Eighty-Four. In Brave New World, the landscape is designed for distraction and pleasure to keep citizens pacified, featuring entertainment complexes and synthetic colors. In Nineteen Eighty-Four, the oppressive government uses architecture and propaganda posters to assert control, depicted as towering, imposing buildings and a bleak gray landscape with only colorful Big Brother posters standing out. The document analyzes how these different landscapes are used as tools of repression to subjugate citizens in the two novels.
TRIUMPHANT DEMOCRACY 2 Andrew Carnegie Triumphant Dem.docxtarifarmarie
TRIUMPHANT DEMOCRACY 2
Andrew Carnegie:
Triumphant Democracy (1886)
A community of toilers with an undeveloped continent before
them, and destitute of the refinements and elegancies of life–such was
the picture presented by the Republic sixty years ago. Contrasted with
that of today, we might almost conclude that we were upon another
planet and subject to different primary conditions. The development
of an unequaled transportation system brings the products of one sec-
tion to the doors of another, the tropical fruits of Florida and Califor-
nia to Maine, and the ice of New England to the Gulf States. Alto-
gether life has become vastly better worth living than it was a century
ago.
Among the rural communities, the change in the conditions is
mainly seen in the presence of labor-saving devices, lessening the work
in house and field. Mowing and reaping machines, horse rakes, steam
plows and threshers, render man’s part easy and increase his produc-
tive power. Railroads and highways connect him with the rest of the
world, and he is no longer isolated or dependent upon his petty village.
Markets for his produce are easy of access, and transportation swift
and cheap. If the roads throughout the country are yet poor compared
with those of Europe, the need of good roads has been rendered less
imperative by the omnipresent railroad. It is the superiority of the iron
highway in America which has diverted attention from the country
roads. It is a matter of congratulation, however, that this subject is at
last attracting attention. Nothing would contribute so much to the
happiness of life in the country as such perfect roads as those of Scot-
land. It is a difficult problem, but its solution will well repay any
amount of expenditure necessary. [British historian Thomas] Macau-
lay’s test of the civilization of a people–the condition of their roads–
must be interpreted, in this age of steam, to include railroads. Com-
munication between great cities is now cheaper and more comfortable
than in any other country. Upon the principal railway lines, the cars–
luxurious drawing-rooms by day, and sleeping chambers by night–are
ventilated by air, warmed and filtered in winter, and cooled in sum-
mer. Passenger steamers upon the lakes and rivers are of gigantic size,
and models of elegance.
It is in the cities that the change from colonial conditions is great-
est. Most of these–indeed all, excepting those upon the Atlantic
coast–have been in great measure the result of design instead of being
allowed, like Topsy, to “just grow.” In these modern days cities are
laid out under definite, far-seeing plans; consequently the modern city
presents symmetry of form unknown in mediaeval ages. The difference
is seen by contrasting the crooked cowpaths of old Boston with the
symmetrical, broad streets of Washington or Denver. These are pro-
vided with parks at intervals for breathing spaces; amply supplied with
pure water, in some c.
This document discusses renewed interest in the medieval period in both Europe and America. It argues that looking at the Middle Ages allows us to better understand the roots of modern problems and our origins. Examining medieval history is like a doctor examining a patient's childhood to understand their current health issues. However, some question if this interest in medievalism is just a postmodern fascination or fulfills a deeper need to reconnect with spirituality in a post-Enlightenment world. The document also discusses how the medieval period can provide a framework for rethinking history and identity outside of linear, progressive models.
Ninth lecture for my students in English 140, UC Santa Barbara, Summer 2012. Course website: http://patrickbrianmooney.nfshost.com/~patrick/ta/su12/index.html
The document discusses the concept of "The Great Harmony" as described in Chinese philosophy. It presents quotes and ideas from several ancient Chinese philosophers such as Confucius, Mencius, and Mozi who envisioned a world of harmony, equality, and justice. The document then discusses how figures and ideas from other civilizations throughout history, such as the Baha'i faith, have also promoted concepts like global unity, peace, and seeing all of humanity as one family. It suggests that the trend of social, political, and technological evolution is toward an increasingly interconnected global community.
1) The document discusses the transformation of cities and urban spaces as a result of globalization and increased mobility. While cities are decentralizing and sprawling, certain areas become more uniform and centralized around functions like tourism, commerce, and transportation.
2) As cities decentralize, historical centers take on museum-like functions for tourists and wealthy residents while industrial and cultural activities move outward. However, new forms of recentralization also occur as global communication technologies paradoxically contribute to both increased mobility and new forms of isolation.
3) Finding a balance between the sense of place and freedom of movement in urban spaces will require rethinking concepts of the city and housing. It also demands efforts to reverse growing inequality and reconnect people
The document discusses how globalization and excesses of the modern world have led to emotional disorders. Rapid technological advances and increased wealth have created a fragile global system prone to collapse. This complexity and overload of information has challenged traditional notions of truth and left many feeling disconnected. However, globalization also enables unprecedented adaptation and change if societies embrace cultural diversity and focus on self-reflection amid the chaos.
This document discusses the maturation of cities and humanity. It argues that cities are evolving to become nodes in a global infrastructure and support system for a world civilization. While technological developments have enabled greater global connectivity, our social, institutional and moral development has not kept pace. There is a need to foster balanced inner development and outer cooperation between cities and nations to close this gap and advance humanity to a new stage of global community and shared prosperity.
This document provides an overview of key characteristics that define cities according to experts. It discusses how cities are dense population centers that create social hierarchies and specialization of labor. Cities exist within networks and rely on surrounding agricultural regions for resources. They also have physical or legal boundaries and are characterized by monumental architecture and public buildings that establish a shared identity for citizens.
1) Barcelona is located on Spain's northern Mediterranean coast, bounded naturally by rivers, the sea, and mountains. Over centuries it grew from a Roman settlement into a medieval walled city and then expanded on a grid plan in the 19th century.
2) In the 1980s, Barcelona faced urban decay but used the 1992 Olympics as catalyst for urban renewal, rebuilding neglected areas and connecting the city to its waterfront with new beaches, parks, and infrastructure.
3) Planner Oriol Bohigas led the transformation, using the Olympics to fund over 200 new public projects that inserted amenities into formerly derelict, high-crime neighborhoods.
The document provides study materials and activities for students about the world at the end of the 19th century. It includes definitions of key terms, comparisons to make, maps and diagrams to complete, and discussion questions. Students are asked to summarize characteristics of the Second Industrial Revolution, explain concepts like imperialism and colonialism, compare ideologies like anarchism and Marxism, and analyze the causes and consequences of imperialism. The document covers major economic, political, and social changes in the late 19th century as Western powers colonized much of Africa and Asia.
For the last decade I have been writing on the subject of pioneering and travelling, as well as the psychological and the spiritual journey of life. I am not unaware of the significance of such writing as an expression of one's philosophy and religion, of one's sociology and ideology, indeed of the very apparatus of one's life. I have written literally hundreds of prose-poems and essays on the themes of travel interwoven with their variegated personal and societal significances.
My prose and poetry is, if nothing else, a definition of my identity, of the way I see my life, see life in general and the complex society in which I live. What follows in this essay is a collection of several pieces, several prose-poems, that I tie together somewhat tenuously for the sake of this exercise, this special posting on the subject of travel. I hope readers find some of the connections I make, often tangentially, on this subject of travel stimulating and provocative.
This document discusses dystopian fiction and its development over time. Some key points:
1. Dystopian fiction emerged in the early 20th century in response to totalitarian regimes and world wars. Authors like Orwell and Burgess used dystopias to critique present tendencies and warn of potential dark futures if unchecked.
2. Dystopias depict gloomy, oppressive futures where individuals have little freedom or choice. Societies are often controlled through psychological manipulation and lack of individualism.
3. The genre absorbed modernist techniques and responded to rapid social and technological changes of the time. It questioned political structures and assumptions from the post-Enlightenment era.
4. Dystopian fiction provides
Slides to go with my lecture on virtual community as an on-going concern in American intellectual life. Tracks the concern from its beginning in Jeffersonian Republicanism to its manifestations in the technological euophorias that accompanied the popularization of a range of technologies (boat canals, railway, telegram, telephone, wireless, automobile, radio, internet, and web 2.0).
This document provides context about Raymond Chandler's novel The Big Sleep and the time period in which it was written. It discusses the themes of crime fiction and how they relate to The Big Sleep, including exploring moral illness in a dysfunctional world and the representation of the femme fatale character. Additionally, it covers the Modernist era of the late 1930s in America and how social issues like the Great Depression, Prohibition, and migration to California influenced Chandler's work.
The Tragedy of ModernityWeek 4, Lecture 1 Eastern Wa.docxarnoldmeredith47041
The Tragedy of Modernity
Week 4, Lecture 1
Eastern Washington University
CSBS 310
Outline
• Tragedy
• Goethe and Faust
• Development
• Self-development
• Societal-development
• Material development
Eastern Washington University
CSBS 310
Tragedy
• “a serious drama typically
describing a conflict between
the protagonist and a superior
force (as destiny) and having a
sorrowful or disastrous
conclusion that excites pity or
terror.” (Webster’s Ninth New
Collegiate Dictionary)
• Paradoxes abound: In order to
achieve glory, justice, beauty,
truth, power, one must suffer
terribly
• Early Greek tragedies were
composed in a liminal period
between pre-classical and
classical Greece
The Remorse of Orestes,
William-Adolphe Bouguereau (1862)
Eastern Washington University
CSBS 310
Johann Wolfgang
von Goethe
• 1749-1832, born in Frankfurt,
lived mostly in Weimar
• Considered to be a literary
genius (a German Shakespeare)
• Faust is considered to be his
masterwork
• The first part was started as
early as 1772 and the second
was not finished until just
before his death in 1832
Eastern Washington University
CSBS 310
1772
1832
American Revolution
French Revolution
Napoleonic Wars
Railroads
Steam Engines
Rise of the metropolis
Eastern Washington University
CSBS 310
Faust and Modernity
• Faust is successful, middle-aged,
but wants more
• The Devil (Mephistopheles) makes
a bet with God that he can lead
Faust astray
• The Devil makes a pact with
Faust--the Devil will do whatever
Faust wants and in return Faust
will serve the Devil in Hell
• The bargain also states that as
soon as Faust is content
(“Verweile doch, du bist so
schoen”) he will die and go to hell.
Eastern Washington University
CSBS 310
Faust and Modernity
• What is that Faust wants?
... my mind
Will not henceforth be closed to any pain
And what is portioned out to all mankind,
I will enjoy deep in myself; contain
Within my spirit summit and abyss.
Pile on my breast their agony and bliss
And let myself grow into theirs, unfettered
Till, as they are, I too will be shattered.
The Course of Empire, The Savage State, Thomas Cole, 1836
Eastern Washington University
CSBS 310
• What is it that Faust wants?
(alternative translation)
... joy is not the issue
I give myself to frenzy, to pleasure that hurts
most,
Hatred in love and setbacks that revive.
My heart, cured of the knowledge-drive,
Henceforth to all the sorrows will be host
And what is dealt to all humanity
That I’ll enjoy in my self’s innermost,
Seize with my spirit the highest and the deepest
And heap all humans’ weal and woe on me
And widen my own self to encompass theirs...
Theodore Gericault, The Raft of Medusa 1818-1819
Eastern Washington University
CSBS 310
Faust and Modernity
• Faust wants development, progress, improvement, enlightenment
1. Self-development (the Dreamer)
2. Societal development (the Lov.
Similar to Which Way to Utopia?: Anarchist Spatial Theory (20)
16. Pierre-Joseph Proudhon. Since the Revolution, the café and the tavern have entered increasingly into the lifeways of the peasant . . . I would argue that these venues have done more for the progress of civilization than the house of prayer. It is true that one learns there less adoration than freedom: that is why the church, the aristocracy, and power hate them. Their security requires that citizens live alone in their homes, kept in solitary confinement. For thirty years, I have frequented cafés, taverns, diners, pubs, restaurants . . . When I was single, I had no salon other than the café; as a married man, from time to time, I find there a distraction that is always pleasant with a company that I encounter nowhere else.
18. Pierre-Joseph Proudhon. Thus, instead of arming power with the force of the whole at the expense of the parts, it arms the part with the force of the whole so that it may withstand the abuse of power. Proudhon’s organizational idea: the FEDERATION. What I call federation, instead of absorbing the federated entities within a central authority, reduces the role of the center to one of coordination and consultation. All members retain the right to withdraw from the federation at any time.
19. Pierre-Joseph Proudhon. In anarchy , society is organized, like any other living being, such that its center is everywhere, its circumference nowhere. the effect of the railroads, by the constancy and the regularity of their service, further aided by telegraphic correspondence, is to place the producer and the consumer in direct relation with one another, whatever the distance which separates them, and consequently, to remove intermediaries . This decentered world is foreshadowed by the potential of modern transportation and communication technologies. Under the irresistible pressure of the development of railroads, society’s center of gravity is displaced . However . . .
20. Pierre-Joseph Proudhon. Thus, in place of a federative and levelling network, a monarchical and centralizing network of railroads is superimposed, subordinating the provinces to the capital, making a great nation, hitherto free, into a people of functionaries and serfs . Capitalism and the State distort technological development by subjecting it to the logic of profit and privilege. All our railroads, like so many rays, address the center of government . . .
22. Pierre-Joseph Proudhon. There are still among us the chauvinists who maintain absolutely that France must recapture her natural frontiers. They ask too much or too little. France is everywhere that her language is spoken, her Revolution followed, her manners, her arts, her literature adopted… Against territorialism: The oppression of peoples and their mutual hatred are two correlative, inseparable facts... No more control of one people by another, one State by another! What was formerly the nation becomes an agglomeration of free and independent nationalities, united only by identity of language, resemblance of occupations, and territorial conditions. Under such conditions conquest is meaningless.
23. Non-Territorial National Identities. “ [A nation] is everywhere that her language is spoken, her Revolution followed, her manners, her arts, her literature adopted…” I believe that one day humanity will be a confederation of free groupings and not organized in keeping with the capitalist system; free groupings ... These groups must be allowed to be constituted, to form themselves. Why wouldn’t Jews form one? My language and the language of my children is German ... [yet] Judaism is alive in everything that I do. I accept my complexity and hope to be an even more multifarious unity than I am now aware of. Bernard Lazare Gustav Landauer
25. The Humanisphere. The harrow has ploughed over all the national borders. Railroads, bridges thrown over the straits and underwater tunnels, submarines and airships driven by electricity, have made the entire globe into a single city that one can circle in less than a day. Electricity carries humankind on its wings and makes it walk the clouds on aerial steamboats. It lets us traverse in a few seconds spaces that today would cost entire months to cross by boat ... Continents are but the districts or neighborhoods of the universal city … The globe is like a park, the oceans its ponds; a child can span them as lightly as a brook while playing with a balloon. In Déjacque’s utopian vision of the future ...
26. The Humanisphere. I went up by airship with my guide; we sailed in the air for a minute and soon lighted on the steps of one of the public gardens of the universal city. It is something like a phalanstery, but without any hierarchy, without any authority, where all, on the contrary, testifies to freedom and equality, to the most complete anarchy. The form of this one is about that of a star, but its rectangular faces are not at all symmetrical, each having its own particular type … In Déjacque’s utopian vision of the future ...
27. The Humanisphere. This recalls, but in much more grandiose proportions, the salons and cabins of the splendid American steamboats. The apartments of the children are large salons in rows, lit from above, with a line of rooms on each side. The watchers of day and night, men and women, occupy cabinets of vigilance in which couches are placed. These watchers contemplate with solicitude the movements and the sleep of all these young human growths, and provide for all their desires, all their needs. This is a voluntary guard, freely assembled, of those who have the strongest feeling of paternity or maternity. In Déjacque’s utopian vision of the future ...
28. The Humanisphere. The popular ocean shall leap from its gulfs … and make of the fragmented and proprietarized soil a collective unity. It will no longer be a question of a little French Republic, nor of a little American Union, nor even of a little United States of Europe, but of the true, the grand, the social, human Republic, one and indivisible … the Republic of the united individualities of the globe. The monstrous American Union, the fossil Republic, will disappear in this cataclysm. Then the Republic of the social United States of Europe will span the Ocean and will take possession of this new conquest. Blacks and whites, Creoles and red-skins shall then fraternize and form a single race. In Déjacque’s utopian vision of the future ...
30. Elisée Reclus. A hidden harmony exists between the Earth and the people it supports, and when imprudent societies strike a blow at what is beautiful in their domain, they have always been sorry for it. Among the causes in human history that have led to the disappearance of many civilizations, we ought to mention the brutal violence with which the majority of people related to the land they lived on … Perhaps the climate has changed due to geological causes … but man has to a great extent contributed to the transformation of the fields into deserts.
31. Elisée Reclus. Growing by the day, or even by the hour, like octopuses extending their long tentacles into the countryside, these cities indeed seem to be monsters, gigantic vampires draining the blood from men.
36. Elisée Reclus. But every phenomenon is complex … … [those who] wish to learn, who seek opportunities to think, to improve themselves, to blossom into writers or artists, or even into the apostles of some truth … Are they not also immigrants to the cities, and is it not thanks to them that the chariot of civilization continues to move forward through the ages? When the cities grow, humanity progresses, and when they shrink, the social body is threatened with regression into barbarism. Indeed, cities also function as laboratories for social self-reinvention, sought out by…
42. Peter Kropotkin. But this great benefit will manifest itself by a steady and marked diminution of the food supplies pouring into the great cities of western Europe. Since all our middle-class civilization is based on the exploitation of inferior races and countries with less advanced industrial systems, the Revolution will confer a boon at the very outset, by menacing that "civilization," and allowing the so-called inferior races to free themselves.
43. Peter Kropotkin. The scattering of industries over the country … and the combination of industrial with agricultural work are surely the next step to be made, as soon as a reorganisation of our present conditions is possible. The two sister arts of Agriculture and Industry were not always so estranged from one another as they are now. There was a time, and that time is not far off, when both were thoroughly combined …
44. Peter Kropotkin. The large towns, as well as the villages, must undertake to till the soil. We must return to what biology calls the integration of functions... the taking up of it as a whole — this is the course followed throughout nature.
45. Peter Kropotkin. The large towns, as well as the villages, must undertake to till the soil. We must return to what biology calls the integration of functions... the taking up of it as a whole — this is the course followed throughout nature. Integration — of — Functions
52. Paul and Percival Goodman. Paul Goodman (1911-1972) Percival Goodman (1904-1989)
53. Paul and Percival Goodman. New Delhi Greenbelt, Maryland Works of engineering and architecture and town plan … and the foreground of human activity are profoundly and intimately dependent on one another. If we look at the town plan of New Delhi we can immediately read off much of the history and social values of a late date of British imperialism. And if we look at the Garden City plan of Greenbelt, Md., we can understand something very important about our present American era of “organization man.”
54. Paul Goodman on the Social Psychology of Space. Any human function that an architect plans for is rich with cause and shape … with history and cultural meaning. … Even the choice of seating arrangements.
55. Paul and Percival Goodman. Public place, Athens An Athenian’s domestic home was very simple; it was not an asylum for his personality. It did not have to be filled with furniture, mirrors, keepsakes, curiosa, and games. An Athenian, if free and male, experienced in the public places, the market, the law court, the porticoes, the gymnasia, most of the feelings of ease, intimacy, and personal excitement that we reserve for home and private clubs. He lived in the city more than at home… [So] there was no sharp distinction between public and private affairs.
56. Paul and Percival Goodman. Private place, Victorian England The most curious examples of heavily furnished homes that are the insane asylums of the spirit frozen and rejected in the city square can be found among the middle classes at the beginning of the twentieth century.
58. Paul and Percival Goodman. Greenbelt, Maryland The division of space into “public” and “private,” “working” and “domestic” life, is schizophrenic.
59. Paul and Percival Goodman. [We propose] the elimination of the difference between production and consumption … merging the means in[to] the end. A square in the town: integration of love, work, and knowledge
60. Paul and Percival Goodman. [We propose] the elimination of the difference between production and consumption … merging the means in[to] the end. A square in the town: integration of love, work, and knowledge
61. Paul Glover. Transportation is a waste product . [A modern city] has become an army camped far from its sources of supply, using distant natural resources faster than these renew. Accordingly, Glover proposes “recentralizing populations” while “decentralizing supports.”
62. Recentralizing Populations – Decentralizing Supports. Food From dependence on distant sources of dwindling cropland controlled by distant corporations, toward local production in municipal gardens, community gardens, rooftop gardens, street orchards, and backyard gardens. From meat to vegetarian diets. Community storage. Land use for agriculture rather than manufacturing.
63. Recentralizing Populations – Decentralizing Supports. Sewage From centralized disposal of valuable sludge from water-wasting crappers, toward production of compost in waterless toilets for distribution on gardens.
64. Recentralizing Populations – Decentralizing Supports. Industry From piecework production of resource-wasteful baubles exported from factories, toward essentials crafted in neighborhoods of local materials for local use. From corporate ownership and management toward community ownership and worker management.
65. Recentralizing Populations – Decentralizing Supports. Solid Waste From bulk dumping in destroyed woodland, through resource separation and recycling, toward minimal use of resources.
66. Recentralizing Populations – Decentralizing Supports. Fuel From distant centralized suppliers of non-renewable fuels toward neigborhood networks of solar cells, wind, and hydro. Community woodlots. Heavy insulation.
67. Recentralizing Populations – Decentralizing Supports. Housing From grid pattern to south-facing combination of single-family, multi-family, extended family, neofamily, and individual units. Comprised of conventional homes, connected homes, cabins, greenhouses, domes, yurts, treehouses, built of local materials. Many floral parks and celebratory areas. Dwellings owned by community, possessed by residents, with system of voluntary rotation of residence.
68. Recentralizing Populations – Decentralizing Supports. Transportation From dangerous, wasteful, and poisonous automobiles, through mass transit and bikeways, toward reliance on foot mobility. Most physical and emotional needs met within walking distance. Most streets replaced by orchards (progressive street reclamation).
69. Recentralizing Populations – Decentralizing Supports. Culture From passive consumption of electric commercial culture toward creative participatory celebration of beauty, abundance and life, by music, dance, art and story.
90. Globalization of the Anarchist Movement. Union members represented by delegates to the anarcho-syndicalist International Workingmen’s Association congress of 1923 Not present: Spain — 1,000,000+ members Cuba — 80,000+ members U.S. — 100,000 members Argentina — 200,000 members Chile — 20,000 members Denmark — 600 members Germany — 120,000 members Holland — 22,500 members Italy — 500,000 members Mexico — 30,000 members Norway — 20,000 members Portugal — 150,000 members Sweden — 32,000 members France — 100,000 members
91. Le Trimardeur. G. de Greef, “Le Chemineau” ( Almanach de la Question Sociale , 1898)