Folksonomy | Metaphysics is a structured repository of digital culture and creative practice. en-au Creative Commons License: (cc), Simon Perkins Sun, 05 Nov 2017 12:21:29 +1000 Sun, 05 Nov 2017 12:21:29 +1000 Constellations 2.0 60 Dada was an effort to reinvigorate art through critical negation we should think of Dada in terms of the precise and deliberate negation of art Dada sought to destroy art Why It is my contention that for Dada art was itself negative Dada conceived of art as absence exclusion and division This is not in the sense that art was somehow in a state of decay or socially compromised Rather for Dada art was its processes of negation processes which were not contingent but constitutive and essential to art Mark Hutchinson 2015 Hutchinson M 2015 Dada Contra Art History Dada Surrealism 20 1 Sun, 05 Nov 2017 12:21:29 +1000 Understanding through Pictures versus an Understanding about Pictures When developing qualitative methods for the interpretation of pictures it seems to be important not to explain pictures by texts but to differentiate them from texts Nevertheless it seems equally important to develop common standards or methodological devices which are relevant for the interpretation of texts as well as for the interpretation of pictures Examples of common standards are to treat the text as well as the picture as a self-referential system to differentiate between explicit and implicit atheoretical knowledge to change the analytic stance from the question What to the question How to reconstruct the formal structures of texts as well as pictures in order to integrate single elements into the over-all context and mdash last but not least mdash to use comparative analysis The application or realization of these common standards and methodological devices in the field of the interpretation of pictures however has to be quite different from that of the interpretation of texts if we intend to advance to iconicity as a self-contained domain to its inherent laws and to its autonomy independent from texts Ralf Bohnsack 2008 Volume 9 No 3 Art 26 ndash September 2008 Forum Qualitative Sozialforschung Forum Qualitative Social Research Sun, 08 Oct 2017 17:43:49 +1000 The Trap What Happened to Our Dream of Freedom Individual freedom is the dream of our age It s what our leaders promise to give us it defines how we think of ourselves and repeatedly we have gone to war to impose freedom around the world But if you step back and look at what freedom actually means for us today it s a strange and limited kind of freedom Politicians promised to liberate us from the old dead hand of bureaucracy but they have created an evermore controlling system of social management driven by targets and numbers Governments committed to freedom of choice have presided over a rise in inequality and a dramatic collapse in social mobility And abroad in Iraq and Afghanistan the attempt to enforce freedom has led to bloody mayhem and the rise of an authoritarian anti-democratic Islamism This in turn has helped inspire terrorist attacks in Britain In response the Government has dismantled long-standing laws designed to protect our freedom The Trap is a series of three films by Bafta-winning producer Adam Curtis that explains the origins of our contemporary narrow idea of freedom It shows how a simplistic model of human beings as self-seeking almost robotic creatures led to today s idea of freedom This model was derived from ideas and techniques developed by nuclear strategists during the Cold War to control the behavior of the Soviet enemy Tue, 26 Jul 2016 22:33:35 +1000 Interview Zygmunt Bauman Social media are a trap Q You are skeptical of the way people protest through social media of so-called armchair activism and say that the internet is dumbing us down with cheap entertainment So would you say that the social networks are the new opium of the people A The question of identity has changed from being something you are born with to a task you have to create your own community But communities aren t created and you either have one or you don t What the social networks can create is a substitute The difference between a community and a network is that you belong to a community but a network belongs to you You feel in control You can add friends if you wish you can delete them if you wish You are in control of the important people to whom you relate People feel a little better as a result because loneliness abandonment is the great fear in our individualist age But it s so easy to add or remove friends on the internet that people fail to learn the real social skills which you need when you go to the street when you go to your workplace where you find lots of people who you need to enter into sensible interaction with Pope Francis who is a great man gave his first interview after being elected to Eugenio Scalfari an Italian journalist who is also a self-proclaimed atheist It was a sign real dialogue isn t about talking to people who believe the same things as you Social media don t teach us to dialogue because it is so easy to avoid controversy hellip But most people use social media not to unite not to open their horizons wider but on the contrary to cut themselves a comfort zone where the only sounds they hear are the echoes of their own voice where the only things they see are the reflections of their own face Social media are very useful they provide pleasure but they are a trap Ricardo de Querol El Pa iacute s 19 January 2016 Tue, 26 Jan 2016 08:36:24 +1000 The hipster as the postmodern dandy The hipster is concurrently developing into a form of youth subculture though at present in a limited sense Many of the tropes and defining characteristics of teenage tribalism are being draped in hipster attire but with little of the angst-ridden and socio-economic preliminaries at the base of earlier subcultural trends and movements such as skinheads goths and punks or some recipe based thereon Without a solid or at least only slightly shifting base in materiality and social context the attire of this set of genuinely disenfranchised youth is sign only the woolly hat and the running shoe are talismans devoid of any intended meaning the world seems flooded with signs without symbolism with younger converts to the hipster style aping their ape forebears The sign has in this context lost its original referent and become hyperreal Baudrillard 1994 p 1 The real origin of the sign s meaning has been lost or buried under meaningless affectation the borrowing and commodification of a modern exoticism that of various minority or retro alternative fashions and attitudes In reference to subcultural groups Hebdige notes that humble objects can be magically appropriated stolen by subordinate groups and made to carry secret meanings 1979 cited in Haralambos and Holborn 2004 p 808 This explains the way punks could style safety pins into a new context and teddy boys could subvert the traditional connotations of Edwardian formality ndash the coded meanings that charge such appropriated style-objects amounted to a kind of resistance to the ruling order be that signified by the state or in the square world of the mainstream Each subculture is in some way spectacular in that it creates a spectacle and intends to be noticed The hipster is daily losing this status as s he becomes overloaded with signifiers aesthetic surface and has become divorced from the collective there is no need for internal reinforcement against a subordinating external force when one has such a slippery class composition The hipster is not oppressed and purports to signify the pinnacle of individual choice and cultural savoir faire though this position is problematized by the amoebic development of a youth subculture with roots in working class communities The hipster s resistance is not to social subordination but to modernity itself to a meaning-deficit brought on by a loosely defined insecure mainstream culture that is less and less able to provide collective ontological sustenance Perhaps the youth-hipster is an attempt to introduce a degree of collectivity in order to partially overcome alienation and inwardness though this does not excuse the continued loss of substance and meaning in style and aesthetic value Michael Reeve 2013 Academia edu Sun, 15 Nov 2015 21:31:14 +1000 Albert Camus Myth of Sisyphus explained Sat, 20 Jun 2015 21:47:34 +1000 Belief in the here and now a Humanist perspective Written amp produced by the British Humanist Association and narrated by Stephen Fry Animated by Hyebin Lee Thank you to Alom Shaha Craig Duncan Andrew Copson and Sara Passmore That s Humanism logo design by Nick Cousin Fri, 12 Jun 2015 09:24:42 +1000 Aboriginal People s Relationship to Land Every different clan group has stories about their beginnings Stories are like our archives detailing how Creator Beings from under the earth arose to shape the land and to create the landscape There are myriad variations of the story but the theme stays the same The whole surface of the earth was like a moonscape no features no flora and fauna just bare open plain But there were Creator Beings sleeping in a state of potentiality just under the surface At a certain time they were disturbed whereupon their potentiality transformed into actuality and they arose out of the ground When they finally emerged they were very big and tall These beings were spirit ancestors of many of the varieties of flora and fauna especially large animals in Australia When this emergence was completed the spirit ancestors started to interact with one another fighting dancing running about making love killing All of this activity shaped the Australian landscape as we know it today Throughout this period humans remained asleep in various embryonic forms in a state like a kind of proto-humanity They were awakened by all the activity above the Creator Beings helped these proto-humans to become fully human teaching them the Laws of custodianship of land the Laws of kinship of marriage of correct ceremonies-they gave them every kind of knowledge they needed to look after the land and to have a stable society When this work was finished the Creator Beings went back into the land where they all still remain in the same eternal sleep from which they awakened at the beginning of time The locations to which they returned have always been and are still today regarded as very important sacred sites Wherever the Creator Beings travelled they left tracks or some kind of evidence of themselves These traces determined the identity of the people In other words every Aboriginal person has a part of the essence of one of the original creative spirits who formed the Australian landscape Therefore each person has a charter of custodianship empowering them and making them responsible for renewing that part of the flora and its fauna The details of this metaphysics varied widely across the land with the physical environment but the spiritual basis-the understanding that what separates humans from animals is the fact that each human bears a creative and spiritual identity which still resides in land itself-provided and still provides in many places the religious social political and economic force throughout Aboriginal Australia Mary Graham 2008 Australian Humanities Review 45 November 2008 Mary Graham Philosophical Underpinnings of Aboriginal Worldviews This essay was originally published in Worldviews Environment Culture Religion 3 1999 105-118 Sat, 02 May 2015 10:07:45 +1000 Chapter 2 Doing Research in the Real World by David Gray Tue, 03 Mar 2015 16:21:22 +1000 Squidsoup s Submergence light installation at Mexico Visual Art Week Submergence work by the Squidsoup collective will be the only indoor piece in all of the Mexico City 2015 VAW festival envisioned for a closed space Like the name of the piece suggests Submergence proposes the audience to be immersed inviting to stroll through it which in an interactive process produces changes in the intensity of the lights colors and sound expressions With a narrative path composed of 4 parts of approximately 5 minutes each an abstract story slowly takes shape with great poetic weight and added to the mutations that the audience contributes with their movements The transition through subtle atmospheres introduces us to a magical and unreal world Beyond the multiple meanings the spectator can perceive in free interaction with Submergence the experience is key in itself the possibilities this piece offers to perceive and enjoy all the senses at once Museo Jumex Wed, 11 Feb 2015 22:59:33 +1000 The Meaning of Life with Gay Byrne Stephen Fry The Meaning of Life with Gay Byrne Sunday 1st February 2015 10 30pm Published on 28 January 2015 Sun, 08 Feb 2015 13:37:34 +1000 Hindu Creation Stories Most religions have a single creation story Hinduism has many This is because for Hindus there is no single creation but periodic cycles of creation The universe we live in is one of innumerable universes Narrated by Gillian Anderson Scripted by Nigel Warburton BBC Radio 4 Tue, 13 Jan 2015 20:01:53 +1000 The Pervert s Guide to Ideology Starting from the provocative premise that political and commercial regimes regard us as subjects of pleasure controlling us by offering us enjoyment director Sophie Fiennes and charismatic philosopher Slavoj 381 i 382 ek repeat the formula of their 2006 collaboration The Pervert s Guide to Cinema The quirky genial 381 i 382 ek employs cleverly chosen clips from a huge variety of movies ndash including Brazil M A S H The Sound of Music and Brief Encounter ndash to illustrate his fascinating monologue frequently appearing on sets and in costumes which replicate scenes from the films in question For example dressed as a chubbier bearded Travis Bickle he expounds the darker subtexts of Taxi Driver s plot from within the anti ndash hero s grotty apartment This entertaining approach helps to ensure that what might otherwise have been a dense even daunting intellectual challenge is actually an engaging and unexpected delight The Institute of Contemporary Arts Thu, 20 Nov 2014 22:14:13 +1000 Mapping the geography of childhood playscapes In 1972 the British ndash born geography student Roger Hart settled on an unusual project for his dissertation He moved to a rural New England town and for two years tracked the movements of 86 children in the local elementary school to create what he called a geography of children including actual maps that would show where and how far the children typically roamed away from home Usually research on children is conducted by interviewing parents but Hart decided he would go straight to the source The principal of the school lent him a room which became known as Roger s room and he slowly got to know the children Hart asked them questions about where they went each day and how they felt about those places but mostly he just wandered around with them Even now as a father and a settled academic Hart has a dreamy puckish air Children were comfortable with him and loved to share their moments of pride their secrets Often they took him to places adults had never seen before ndash playhouses or forts the kids had made just for themselves Hart s methodology was novel but he didn t think he was recording anything radical Many of his observations must have seemed mundane at the time For example I was struck by the large amount of time children spend modifying the landscape in order to make places for themselves and for their play But reading his dissertation today feels like coming upon a lost civilization a child culture with its own ways of playing and thinking and feeling that seems utterly foreign now The children spent immense amounts of time on their own creating imaginary landscapes their parents sometimes knew nothing about The parents played no role in their coming together ndash it is through cycling around that the older boys chance to fall into games with each other Hart observed The forts they built were not praised and cooed over by their parents because their parents almost never saw them Through his maps Hart discovered broad patterns between second and third grade for instance the children s free range ndash the distance they were allowed to travel away from home without checking in first ndash tended to expand significantly because they were permitted to ride bikes alone to a friend s house or to a ball field By fifth grade the boys especially gained a dramatic new freedom and could go pretty much wherever they wanted without checking in at all The girls were more restricted because they often helped their mothers with chores or errands or stayed behind to look after younger siblings To the children each little addition to their free range ndash being allowed to cross a paved road or go to the center of town ndash was a sign of growing up The kids took special pride Hart noted in knowing how to get places and in finding shortcuts that adults wouldn t normally use Hanna Rosin April 2014 The Atlantic Roger Hart 1979 Children s Experience of Place Irvington Mon, 17 Nov 2014 18:22:38 +1000 The school which encourages risk-taking through open-ended play It sounds like a child s dream and a parent s nightmare ndash a school with no rules But at Swanson School in Auckland New Zealand a blind eye is turned at break time while the kids run amok outside Dani Isdale joins the children as they climb trees skid around on bikes and fire makeshift weapons ndash it s all allowed and even encouraged The need to wrap up our kids in cotton wool and not give them an opportunity to hurt themselves ndash you are actually taking away a lot of learning opportunities says principal Bruce McLachlan When playtime ends serious learning begins and he says the children are much more receptive confident and cooperative after their free range play But he does admit to Dani that there is just one rule ndash the kids aren t allowed to kill each other They love it but do parents think he s gone too far Dani Isdale 21 October 2014 SBS Dateline Bruce McLachlan the principal of Swanson School in Auckland Aotearoa New Zealand believes that wrapping children in cotton wool is more risky in the long ndash term than giving them the freedom to set their own rules in the playground Sun, 16 Nov 2014 20:32:06 +1000