The Ideal of Value
On page 278 Ulmer says "Agamben set a test for the egents to separate the body in its linguistic nature from the pornography and commodification that dominate the bourgeois body. In terms of practical consulting this test suggest that the EmerAgency approach policy issues at the level of values that circulate in the culture determining the way the policy makers focalize an issue. One way to approach this call for a paradigm shift in values and identity is to take up the question of the happiness promised through the whatever of the image.
Advertisements appeal to us by presenting emblems of well-being, security, and satisfaction". This introduction to the text sets up the reader for the theme that Ulmer tries to get across.
The Gift of Aporia
On page 299 of Internet invention Ulmer expalains the gift of aporia by saying that "In the emblem we have a magi tool, but have not really attempted to apply it to a policy consultation. An egent is a witness, participating through the connectionist network of the internet in the virtual corporate gaze of a fifth estate".
He continues on page 301 to say that "The aporia in narrative structure maps and sympotomizes the political unconscious a contradiction in the cultural resources of the community. The aporia is not necessarily a bad or negative condition, but a “promise” of an alternative logic.
There is more to say about giving and receiving the gift of the magic tool. no one may reiceve it in the abstract, through an explanation. It happens as an event of recognition, as an experience of tuning. It is uncanny, a surprise, a secret that should or could have remained hidden but now comes to light. The norm, the natural standpoint, dictates a certain way of doing things, a certain attitude, behavior preferences, with which it seems best to conform. What if we enter a time of emergence, a time when human resource is needed? The purpose of the wide site is to prepare the place in which the magic tool may be found as a gift."
Wednesday, April 21, 2010
Tuesday, April 13, 2010
4/13/2010
The Second Threshold
On page 246 of Internet Invention, Gregory Ulmer says "In terms of the narrative path guiding our quest for the wide image, a great deal happens at this stage of the project. The raw material of the mystory provides the makings of the magic tool that is the immediate “object of the search”. Once we put the mystory into a form, to make it legible and transportable, we will be in a position to consult for the EmerAgency".
Advertising Emblems
The emblem is and crucial part of the Mystory, on page 248 Ulmer says that "The emblem is a mixed form comprising a motto a picture, and an epigram.
The motto introduces the emblem and usually indicates the theme, which is embodied symbolically in the picture that depicts one or more objects, persons, or events. Beneath the picture is printed an epigram or short prose statement that interprets the picture and elucidates the theme".
The Readymade
"The emblem form stripped of both its theological and commercial anagogies is practiced as pure language in the vanguard arts in a way that reveals and codifies its formal properties". Ulmer says on page 251 that the emblem can be boiled down to its basic essence.
On page 246 of Internet Invention, Gregory Ulmer says "In terms of the narrative path guiding our quest for the wide image, a great deal happens at this stage of the project. The raw material of the mystory provides the makings of the magic tool that is the immediate “object of the search”. Once we put the mystory into a form, to make it legible and transportable, we will be in a position to consult for the EmerAgency".
Advertising Emblems
The emblem is and crucial part of the Mystory, on page 248 Ulmer says that "The emblem is a mixed form comprising a motto a picture, and an epigram.
The motto introduces the emblem and usually indicates the theme, which is embodied symbolically in the picture that depicts one or more objects, persons, or events. Beneath the picture is printed an epigram or short prose statement that interprets the picture and elucidates the theme".
The Readymade
"The emblem form stripped of both its theological and commercial anagogies is practiced as pure language in the vanguard arts in a way that reveals and codifies its formal properties". Ulmer says on page 251 that the emblem can be boiled down to its basic essence.
Tuesday, April 6, 2010
The Bar (Street)
Ulmer wants us here to look at how we percieve the places around us that we frequently visit, on page 210 "Here we turn our attention to the scene and away from the encounter of donor and hero. The forward progress of narrative development is arrested in this chapter. In turning the focus of our allegory away from the plot line to the atmosphere or mood of the setting we are locating the place of transformation, of transition from literary to electracy. Here Ulmer wants us to not only see the Hero and the Donor, but to recognize the tool that is used. He tries to make us understand that it is as important to understand what the details of the tool are as how to use it. "
The Modernist Brothel
On page 215 Ulmer looks at some other locations that have an impact on different people "One sign of the significance of the bar in our civilization is the prestige and attraction it holds for American youth. The bar is an allegorical place. The value of the bar is its ability to disrupt the body and senses. This is one place where a “rite of passage” is known to occur".
Song
The power of song can be an interesting concept, as we see with Ulmer's views on page 219 "We are building a series, performing the narrative transformation from literacy to electracy. Our narrative quest for the wide image is suspended at the station of the donor – the bar – in which the donor tests the hero and gives the gift of the magic tool. The bar setting often includes a band playing music that helps to set the atmosphere of the scene. We are in transition now from the general environment of the bar continuing the displacement away from the plot to the setting and now within the setting the music played in the bar".
Ulmer wants us here to look at how we percieve the places around us that we frequently visit, on page 210 "Here we turn our attention to the scene and away from the encounter of donor and hero. The forward progress of narrative development is arrested in this chapter. In turning the focus of our allegory away from the plot line to the atmosphere or mood of the setting we are locating the place of transformation, of transition from literary to electracy. Here Ulmer wants us to not only see the Hero and the Donor, but to recognize the tool that is used. He tries to make us understand that it is as important to understand what the details of the tool are as how to use it. "
The Modernist Brothel
On page 215 Ulmer looks at some other locations that have an impact on different people "One sign of the significance of the bar in our civilization is the prestige and attraction it holds for American youth. The bar is an allegorical place. The value of the bar is its ability to disrupt the body and senses. This is one place where a “rite of passage” is known to occur".
Song
The power of song can be an interesting concept, as we see with Ulmer's views on page 219 "We are building a series, performing the narrative transformation from literacy to electracy. Our narrative quest for the wide image is suspended at the station of the donor – the bar – in which the donor tests the hero and gives the gift of the magic tool. The bar setting often includes a band playing music that helps to set the atmosphere of the scene. We are in transition now from the general environment of the bar continuing the displacement away from the plot to the setting and now within the setting the music played in the bar".
Wednesday, March 31, 2010
Tuesday, March 30, 2010
3/29/2010
The Donor:
There is always someone that donates something to the story that is worked on, Ulmer shows us this on page 180 by saying that "The form and experience of narrative are a relay for understanding the combined tasks of consulting and designing the wide image. The protagonists or heroes of tales or stories cannot solve by themselves the problem or conflict that caused them to leave home and enter the special world of adventure. Invariably they find their way to some gathering place".
The prison-house of language:
Ulmer goes into more detail on the tale on page 184 "The basic tale begins with either injury to a victim or the lack of some important object. Thus, at the very beginning, the end result is given: it will consist in the retribution for the injury or the acquisition of the thing lacked"
The political unconscious:
Ulmer also says on page 184 that "We can better appreciate the usefulness of actanial reduction, if we reflect for instance on the character of Heathcliff in Wuthering Heights, a figure whose ambiguous nature has remained an enigma for intuitive or impressionizing, essentially representation criticism, which can only seek to resolve the ambiguity in some way"
Ulmer tries to show us how we should instigate these principles on page 186 by saying that "Value: the first insight to be drawn from Jameson’s analysis of the donor “actant” is to look outside any particular narrative and in our context outside the institution of Entertainment, to another dimension of popcycle in order to understand the forces shaping the diegesis or dramatic world of the story"
Ficelle:
"Jameson suggested the strategy of displacement away from the hero to the supporting cast, in order to find an alternative to the ideological or interpolative default mood of a text". Here on page 195 Ulmer shows us the separation of the hero from his support system.
Riddles of Sense:
"The Donor test the hero by posing riddles. The logic of riddles manifest the basic structure of conductive sense through which the hero may receive the magic tool". On page 196 Ulmer shows some insight to the test that the hero will face.
There is always someone that donates something to the story that is worked on, Ulmer shows us this on page 180 by saying that "The form and experience of narrative are a relay for understanding the combined tasks of consulting and designing the wide image. The protagonists or heroes of tales or stories cannot solve by themselves the problem or conflict that caused them to leave home and enter the special world of adventure. Invariably they find their way to some gathering place".
The prison-house of language:
Ulmer goes into more detail on the tale on page 184 "The basic tale begins with either injury to a victim or the lack of some important object. Thus, at the very beginning, the end result is given: it will consist in the retribution for the injury or the acquisition of the thing lacked"
The political unconscious:
Ulmer also says on page 184 that "We can better appreciate the usefulness of actanial reduction, if we reflect for instance on the character of Heathcliff in Wuthering Heights, a figure whose ambiguous nature has remained an enigma for intuitive or impressionizing, essentially representation criticism, which can only seek to resolve the ambiguity in some way"
Ulmer tries to show us how we should instigate these principles on page 186 by saying that "Value: the first insight to be drawn from Jameson’s analysis of the donor “actant” is to look outside any particular narrative and in our context outside the institution of Entertainment, to another dimension of popcycle in order to understand the forces shaping the diegesis or dramatic world of the story"
Ficelle:
"Jameson suggested the strategy of displacement away from the hero to the supporting cast, in order to find an alternative to the ideological or interpolative default mood of a text". Here on page 195 Ulmer shows us the separation of the hero from his support system.
Riddles of Sense:
"The Donor test the hero by posing riddles. The logic of riddles manifest the basic structure of conductive sense through which the hero may receive the magic tool". On page 196 Ulmer shows some insight to the test that the hero will face.
Tuesday, March 23, 2010
3/23/2010
Cyberpidgin
"We are in the special world of enterainmend discourse, scene of the spectacle and of emergent electracy. “Spectacle” names the literate experience of the electrate apparatus. The interbody metaphor must mediate a global encounter among strangers in an atmosphere of compassion fatigue, indifference, or misunderstanding, perhaps even PTSD". This excerpt from page 155 of Ulmers Internet Invention shows that events of our lives affect us in a very dramatic way.
Technology: "The internet as a technology of packet switching, designed to survive a nuclear strike targeting the nation’s communications network" Here on page 155 Ulmer shows the significance of technology on the mystory.
Ulmer conitnues showing us ideas key to the mystroy with Identity on page 155 "The rhetoric of the unconscious as described by psychoanalysis, featuring the devices of figurative language or image making such as condensation, displacement, or secondary elaboration, by means of which a latent thought manifest itself in a fragmentary, encrypted, indirect manner".
Ulmer furthers ideas on the mystory again with Institution on page 156 "The social corollary of these technological and psychological registers is the survival of the African oral culture in the Americas and its syncretism with Western literature institutions: “Voodoo is the African aesthetic shattered and the desperately put back together. More than simply ‘put back together,’ it has been recreated to serve its people under the shattering impact of slavery and poverty”
Pidgin begins as a language for doing business in the absence of a common language among different peoples, and evolves into a creole in the speech of pidgin-speaking children, once the pidgin has become so common that it is spoken in the home"
Fetishturgy
Ulmer speaks about levels of communication on page 159 by saying that "The analogy between the destroyed network of military command still able to function after suffering a first nuclear strike, and the ruined messages of dream work, scrambled into nonsense by repression yet received and understood in a way by the dreamer, is one of the operative “packets” of chorography. The equivalent ruin at the sociohisorical level is the Black Atlantic –the persistence of African culture through the catastrophe of the middle passage, the diaspora of slavery disseminating individuals throughout the Americas".
First Encounters
Ulmer speaks to the importance of meetings by saying "To figure what happens when electrate people meet online, we may call upon the experience of colonial encounters as a relay (to remind ourselves how different electracy is from the experience of School)."
"We are in the special world of enterainmend discourse, scene of the spectacle and of emergent electracy. “Spectacle” names the literate experience of the electrate apparatus. The interbody metaphor must mediate a global encounter among strangers in an atmosphere of compassion fatigue, indifference, or misunderstanding, perhaps even PTSD". This excerpt from page 155 of Ulmers Internet Invention shows that events of our lives affect us in a very dramatic way.
Technology: "The internet as a technology of packet switching, designed to survive a nuclear strike targeting the nation’s communications network" Here on page 155 Ulmer shows the significance of technology on the mystory.
Ulmer conitnues showing us ideas key to the mystroy with Identity on page 155 "The rhetoric of the unconscious as described by psychoanalysis, featuring the devices of figurative language or image making such as condensation, displacement, or secondary elaboration, by means of which a latent thought manifest itself in a fragmentary, encrypted, indirect manner".
Ulmer furthers ideas on the mystory again with Institution on page 156 "The social corollary of these technological and psychological registers is the survival of the African oral culture in the Americas and its syncretism with Western literature institutions: “Voodoo is the African aesthetic shattered and the desperately put back together. More than simply ‘put back together,’ it has been recreated to serve its people under the shattering impact of slavery and poverty”
Pidgin begins as a language for doing business in the absence of a common language among different peoples, and evolves into a creole in the speech of pidgin-speaking children, once the pidgin has become so common that it is spoken in the home"
Fetishturgy
Ulmer speaks about levels of communication on page 159 by saying that "The analogy between the destroyed network of military command still able to function after suffering a first nuclear strike, and the ruined messages of dream work, scrambled into nonsense by repression yet received and understood in a way by the dreamer, is one of the operative “packets” of chorography. The equivalent ruin at the sociohisorical level is the Black Atlantic –the persistence of African culture through the catastrophe of the middle passage, the diaspora of slavery disseminating individuals throughout the Americas".
First Encounters
Ulmer speaks to the importance of meetings by saying "To figure what happens when electrate people meet online, we may call upon the experience of colonial encounters as a relay (to remind ourselves how different electracy is from the experience of School)."
Tuesday, March 9, 2010
3/8/2010
The structure of entertainment narrative provides an allegorical map for becoming an egent.
The template for the entertainment narrative that we are using is based on the patter of the hero’s quest. It shows the motive for leaving home and entering the world of adventure due to a disruption in the family situation.
The mystory can and does follow memorable entertainment issues that arise throughout your life, for example; most of my current taste in television and movies has been influenced by what I remember watching with my father at an early age.
Jean-Paul Sartre, in his study of the psychology of imagination used the phenomenon of a comedian impersonating a famous actor, as a p0iont of departure for understanding the nature of images and imaging. His account clarifies the nature of a felt composition. If photos and stories of events that we browse in newspapers and magazines leave us indifferent, Sartre argues, it is because we fail to fill the sign with our own imagination, pictures, like words, must be actively read.
Plato invented the dialogue sass the basic practice for his institutionalization of alphabetic writing in school. The dialogue is actually part of a collection of interrelated inventions, all of which are designed to take advantage of the material featured in alphabetic writing.
The gram is a correction and 0065tension of the semiotic sign with its metaphor of the signifier and signified connected like two sides of one sheet of paper. The gram deceives the signifier-signified relation as a coupling that allows easy detachment. A better metaphor for the sign than a sheet of paper is a Dremel tool, with the hose extension and a hundred different attachments.
The template for the entertainment narrative that we are using is based on the patter of the hero’s quest. It shows the motive for leaving home and entering the world of adventure due to a disruption in the family situation.
The mystory can and does follow memorable entertainment issues that arise throughout your life, for example; most of my current taste in television and movies has been influenced by what I remember watching with my father at an early age.
Jean-Paul Sartre, in his study of the psychology of imagination used the phenomenon of a comedian impersonating a famous actor, as a p0iont of departure for understanding the nature of images and imaging. His account clarifies the nature of a felt composition. If photos and stories of events that we browse in newspapers and magazines leave us indifferent, Sartre argues, it is because we fail to fill the sign with our own imagination, pictures, like words, must be actively read.
Plato invented the dialogue sass the basic practice for his institutionalization of alphabetic writing in school. The dialogue is actually part of a collection of interrelated inventions, all of which are designed to take advantage of the material featured in alphabetic writing.
The gram is a correction and 0065tension of the semiotic sign with its metaphor of the signifier and signified connected like two sides of one sheet of paper. The gram deceives the signifier-signified relation as a coupling that allows easy detachment. A better metaphor for the sign than a sheet of paper is a Dremel tool, with the hose extension and a hundred different attachments.
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