All posts tagged Ideas

Mysticism and Narcissism…

Noetic Transhumanism

I attended a lecture at Wham City in Baltimore recently, and I wanted to jot down some quick notes on the subject. “Noetic Transhumanism” was the main idea tonight, espoused by a neighbor of mine, C.K. Our humble lecturer is in the early stages of an experiment with the idea of Noetic Transhumanism. He gives lectures like the one given tonight, to develop his ideas.

Noetic Transhumanism is a kind of transhuminist idea. Transhumanists believe that humans can overcome their own natural limitations, to become more than, or other than the humans we are now. Science fiction cyborgs come to mind with this idea, as well as the science realities of genetic modification, steroid use, psychoactive drugs, etc.

Noetic Transhumanism is a similar idea, although it has less to do with the physicality of the human condition. Noetic Transhumanism is the idea that humans can overcome our inner limitations: limitations of the mind, emotions, and spirit, in order to become more than, or other than we are now. This transition may be a transition away from physicality altogether — but in what sense, and is that possible?

In some sense, as C.K. described, people have been escaping physicality into the realm of ideas, for centuries: Greek heroes, prophets, legendary people of all stripes, etc., but this isn’t exactly the kind of transcending that C.K. seems to have in mind.

C.K. seems most interested in what some people have called the Noosphere, and he describes it as though it were a realm, or a dimension related to ours.

This lecture was pretty much the outset of C.K.’s ideas on the subject. There wasn’t much need, in an introduction, to delve into the details, comparisons and so on. The second part of the lecture was C.K.’s discussion of his attempts to pursue this idea, to address any questions that arise along the way, and to attempt an end result — that being a noetic transition of some sort.

National Gazette

Recently, I was duped into believing that I could work for a revolutionary kind of journalism. I should have known better. The terms “revolutionary” and “journalism” are only sporadically related, at times like the French Revolution or the radical sixties, if they’re related at all.

My misadventure with the apparently fraudulent USA Voice is over for me now, and, reflecting back on it, I’ve given some thought to the allure, the idea that suckered me into almost falling for it. It’s a nice idea – democratic journalism. An incredible number of people out there seem to agree with me, and many of them were also tricked, because they, too, were excited about the idea.

So why not do it? Why not actually make the publication USA Voice claims to be? I’ve begun to seriously consider the idea. First, I decided address a call-to-arms to the people I’ve met because of the USA Voice debacle. Couldn’t we do this the right way; couldn’t we make an independent, democratic publication using internet technology? Of course we could! What are your thoughts on the subject?

Then, I decided to see if anybody else is doing this. "Anybody else", I mean, aside from the usual suspects, the major news outlets, the established internet publications, etc. I found one, very interesting project called The National Gazette. The project does seem to be slower in development than the initial plan indicated, but I think the final product will be interesting, worthwhile, and even legitimate! The Austin-American-Statesman newspaper reports:

The National Gazette is a new on-line newspaper slated for publication this summer.  Dan Croak, the publisher, states on the paper’s website that it aims to continue the tradition of the defunct paper of the same name started by Thomas Jefferson and James Madison in 1791 to spark public debate.  According to Croak in the Prediction Markets Google Group the publication will include information market coverage.

“The National Gazette editorial board strongly believes that goal is best achieved using an ‘architecture of participation,’ the business model best exemplified by Wikipedia, eBay, and Amazon.com,” states the pre-registration e-mail (hyperlinks added).

Coupling modern communications technology with Jefferson’s and Madison’s desire to harness public opinion to influence policy should add an interesting flair to the current offering of user generated news and debate sites like digg, Newsvine, and Gather along with wikis and blogs.

For more information about and to pre-register for the National Gazette visit its website at www.nationalgazette.org.  To learn more about Croak visit his Blogger profile that lists the blogs he contributes to.  Previews of the site’s layout are posted at Jason Santa Maria’s blog post “ In Progress: Site Design” and Cameron Moll’s blog post “In Progress: Logo Design.”

I like that the National Gazette reflects an era when “Freedom of the Press” was popularized. I like its appeal to the people. For instance, on the Gazette’s photography page (hosted by flickr, no less) the Gazette has this to say:

Submit your photos to be published in the soon-to-be-launched National Gazette! We’re looking for talented, original photographs from the community. This follows exactly the philosophy behind the National Gazette, which encourages the best upcoming writers to submit their work to our weekly publication.

We place a high emphasis on design, which is why we hired two well-known graphic designers to build a beautiful, emotionally engaging web site that is easy on the eyes and tugs on the heart. You can let them inspire you at their sites as well: Jason Santa Maria and Cameron Moll.

We place a high emphasis on empathy, as well. Our content at the National Gazette seeks to understand what makes our fellow men and women tick, and we do our best to care for others.

We love playfulness and whimsical prints as well. A central aspect of our publication is its futures markets game, which allows our community to participate in a zero-sum game of predictions and probabilities, pitting everyone’s knowledge and opinions against one another in an attempt to aggregate the collective wisdom of the crowds into a prediction of the future.

Most of all, we love photos that show meaning about the world. Beauty is one thing. Purpose and transcedence are something else altogether.

I am confident that two respected professionals like the designers mentioned above would only be involved in a top-notch publication, and for that reason I’m willing to overlook the long absence of any public developments from this project (the last was 139 days ago). Honestly, I’m also tempted to beat them to the punch, though I think that would be a bit tricky.

I am excited about the prospect that there might be a National gazette, and newspapers like it. I wonder if anyone out there would be interested in starting one, or something like it, or even in partiipating in that one. What would such a publication be like?

Weekly Emerson Notes

Every week, Stefanie Hollmichel posts a new response to a different Emerson essay. This week it was Emerson’s essay entitled “Heroism”, about which she comments, interestingly:

His ideas are such a bizarre mix he sounds like Pat Robertson, an ACLU attorney, and a Spartan combined into one person. If he stopped there I would be completely disgusted, but he redeems himself.

Last week, in a cleverly titled post “Wouldn’t be Prudent” she said:

Emerson’s essay on Prudence is filled with all kinds of interesting snippets which I find more thought-provoking than the whole. Snippets like “We write from aspiration and antagonism, as well as experience.” And “Time, which shows so vacant, indivisible and divine in its coming, is slit and peddled into trifles and tatters.” And “The hard soil and four months of snow make the inhabitant of the northern temperate zone wiser and abler than his fellow who enjoys the fixed smile of the tropics.”

These posts make for fun reading, and she always links to the subject of next weeks post in advance, to invite participation. I think that’s a great way to run a lit-blog!

(In fact, I might like to adopt a similar practice myself.)

source: So Many Books

Mythic Figures

Spurious has run an interesting collection of musings on mythic figures, including The Golem and The Homunculus and The Doppelgänger

I wonder what else might be added to that set: The Succubus or The Asp? The figures chosen all seem to have a realtionship to the self, or to embody some sort of problem.

infodump vs. exposition

Matthew Cheney, author of The Mumpsimus, poses some interesting questions about the part of a story called the exposition, or “infodump”.

I’ve been wondering about exposition recently, particularly exposition of the infodump variety, wherein an author needs to convey a lot of information and does so by coming out and stating it. Telling vs. showing. Choosing efficiency over subtlety.

Here are some ideas, questions, and assumptions about exposition…

Cheney asks for examples of infodump vs. exposition. I can think of one example that successfully combines the two: Shakespeare’s Ricard III Act I, Scene i.

Weblog Discourse

The Reading Experience has a recent post that poses some interesting ideas about “this point in the development of the weblog as a forum for serious discourse”:

  • What exactly can be done in a blog post?
  • Blogging about blogging can become just another variation on navel-gazing.
  • Certainly blog posts can be casual or superficial, but I see nothing in the nature of the form that requires they be so.
  • Plenty of literary weblogs are focused on longer posts that are frequently part of cross-blog debates that at their best have a seminar-like feel without being pompous.

And so on…

Close Reading New Media

Leonardo Digital published a review of a book of hypertext theory entitled, “ Close Reading New Media: Analyzing Electronic Media” The book applies a method of close analysis to new media. The review describes the book.

The book is actually a collection of nine essays divided into three sections––Hypertext, Internet Text, and Cybertext––with each section containing three essays. And so, in the first section, one finds analyses of Strickland’s True North, Shelley Jackson’s Patchwork Girl, and M. D. Coverley’s Califia. Section two offers essays on Geoff Ryman’s 253 and Rick Pryll’s Lies, Raymond Federman and Anne Burdick’s Eating Books, and another on Ryman’s 253. The final section focuses on Darren Aronofsky’s website for his film, Requiem for a Dream; the interface for ebr (electronic book review); and the theoretical views underlying Grammatron by its author Mark Amerika.

leonardo cover Leonardo is yet another wonderful publication by the MIT Press. Leonardo is a magazine about “work at the intersection of the arts, sciences, and technology”. That’s not all! These folks publish all kinds of stuff (all published by The MIT Press):

Sarah Newman Photography

Deterioration, a photo by sarah newman

Sarah Newman Photography is an artist website, allowing an audience to discover new and innovative fine art photography. Sarah Newman and Dylan Kinnett launched the website publicly in the spring of 2006.

Sarah Newman and Dylan Kinnett designed this photography website together: the color scheme, logo/branding, and interface design, as well as HTML/CSS development. The photography is all Sarah, and selected from various collections of photographs developed during her life’s work.

Sarah Newman’s photographic work spans various subjects and media. Her roots are in traditional 35-millimeter black and white photography, but her exploration of the medium includes medium and large format, color, digital, and non-silver processes including platinum, gum-dichromate, and Van Dyke. Sarah Newman also creates photo-installations, in which she combines three-dimensional spaces with traditionally two-dimensional photographic images. Sarah’s interest in wide-ranging visual ideas and subject matter explains the extensive variety in her portfolio.

Frosting Painting Photography by Sarah Newman Of particular interest are Sarah’s “Frosting Paintings”. The Frosting Paintings are a series of photographs of paintings made with cake frosting. This series, explores the line that distinguishes painting from photography by creating a new process that falls into neither one medium nor the other. Sarah paints clear plastic acetate, using six different colors of translucent frosting-gel. Then, she back-lights the paintings by placing the acetate on a light-table, and photographs the paintings with the light passing through them. The colors you see are true to the appearance of the back-lit paintings. The images—which are neither purely photographic nor purely painterly, but instead a (perhaps corrupt) hybrid of the two—create new and ambiguous spaces that invite individual interpretation.

The salient feature of the SarahNewmanPhotography.com website is its simplicity — the main idea is the photography, and the photography speaks for itself. The result is an immediate, accessible, and usable introduction to Sarah’s stunning photographs.

Celebrating Ambiguity

Dissing Disambiguation is an interesting diatribe by a mathematician who describes himself as “a 40 year-old gay man living in a wonky world.”

a Hopf bundleHe explains a field of mathematics called topology that “deals with properties of space of objects that can be stretched without tearing or gluing.” He describes a couple of objects that are particularly interesting in terms of this mathematical viewpoint… What makes this worthy of a post on No Categories? Read on…

For me, the really cool thing is the way we look at the world around us. How we are fortunate that there are people in this world who cherish the oddity all around this world–physical and otherwise. Too many people are afraid of ambiguity. They don’t like it when things can be interpreted in more than one way. This is true from things as varied as human sexuality, biblical scholarship or geometric shapes.

I say ambiguity is something to be celebrated. We are often left with alleged truisms such as ‘the truth is black and white’ or ‘the truth is simple’. To accept such statements as reality disallows for the possibility of a new point of view–a new exploration of a unique and foreign space or concept. We are complicated beings. The ambiguity that exists naturally around us could be said to lead to further complication. Instead, I choose to believe that any thing or any one can be taken for something beyond face value. Attempting to find that ambiguity or explore that topology makes me a more thoughtful (and hopefully) more caring individual.

Thought

Sometimes, in the dark,
On my way home through the woods,
I think I’m naked.

Emphasize Beauty

Emphasize Beauty Which is more beautiful – a butterfly or a cockroach?

The Richest Literary Journal in History

According to sources like The Boston Globe, Josh Corey, and Chicago Magazine, there is a new editorial agenda at Poetry Magazine. My recent interest in the Imagism ideas published during the formative period of that publication has put the magazine at the top of my wish list, mostly out of curiosity. It seems that a century has done a lot to change the magazine, for better or for worse.

According to the Globe,

Three years ago, a pharmaceutical heiress made Poetry magazine, the venerable monthly that discovered T.S. Eliot, Wallace Stevens, William Carlos Williams, and Marianne Moore, the richest literary journal in the history of the world. The sum of $175 million, given by Ruth Lilly, made the subject of poetry into news fit to print in just about every newspaper in America.

The question on everyone’s mind, then, is: what ever will they do with all that money. Luckily, when a large sum of money is at play, the use of if it is generally documented, or justified somehow.

The Poetry Foundation, the entity created by and entrusted with that money, and its president John Barr have a stated agenda to put poetry “back into the mainstream of American culture”

It also happens that the president of the foundation is a former Wall Street Executive, in addition to having written whatever poetry bears his name. Perhaps this is why the Globe reports: “some critics of the foundation’s initiatives wonder whether poetry can, or should, restore its cultural authority by way of a marketing campaign. . . The Poetry Foundation’s posture as a kind of heavily endowed insurgency trying to shake up the poetry world has drawn two kinds of critics: those who think the foundation is addressing an illusory crisis and those who think the foundation’s approach is misconceived.”

Indeed, Barr doesn’t hesitate to use the language of corporate marketing to talk about his outreach efforts, speaking of “demographic groups” and “poetry users.” With annual budgets that should range from $5 million to $10 million a year, Barr says, the Poetry Foundation’s ultimate goal is to create a general readership for poetry large enough to make it possible for more poets to succeed in a commercial marketplace rather than rely on academia to make a living.

Now, that would be nice, wouldn’t it – if poets could succeed with the commodification of their art. Then again, art is inherently not commodity.

Oh, and get a load of this! These are the words of Christian Wiman, an editor of Poetry Magazine

More poems should rhyme. More poems should have meter. More poems should tell stories in accomplished ways. More poems should do the things that people like poems to do.

Poems should do whatever they were created to do! I’ll venture a guess about those people who expect poems to do such things as rhyme, etc.. They are the same people who haven’t read very much from the centuries and centuries of poetry that does those things, and that lack of reading is what caused their expectation in the first place. Those expectable poems are published, already.

(I wonder, if a poem fully ought to do whatever it was created to do, does that justify the poems that were created to please the alrgest possible audience, to be sold, or published in order to sell magazines. . .)

Nevertheless, if this organization is hiring, I’ll apply for a job. It sounds like they might benefit by having someone like me behind one of their desks. I know I would probably learn a thing or two, even as their janitor.

Meet the Maestra

Marin AlsopTonight, I’ll be attending the Baltimore Symphony Orchestra‘s performance of Dvorák‘s Seventh Symphony and Mozart’s Piano Concerto No. 12 in A Major, also featuring Symphony No. 1, the First Symphony by one of today’s greatest composers, Baltimore native Christopher Rouse.

Marin Alsop will be conducting, for the first time since being named music director of the Baltimore Symphony Orchestra. She will be the first woman to head a major American orchestra, which mirrors her ongoing success in the U.K. as Principal Conductor of the Bournemouth Symphony since 2002. She has also just been named a 2005 MacArthur Fellow, the first conductor ever to receive this most prestigious American award.

Alice in Wonderland

Alice in Wonderland
My friend Trisha has posted a new set of photographs. After the invaluable moral assistance she offered to me in the middle of the other night, I thought I’d try to get some Karma back by publicizing her lovely photographs. This set depicts Alice In Wonderland.

Physicalism

I recieved an e-mail today. It sparked my curiosity. Read it for yourself:

Greeetings friends, family, and fellow Physicalists,

For those of you who do not know, Physicalism is the name of we have given the group of ideas we have in response to the current state of contemporary art. In short, Physicalism is pro-beauty and anti-bullshit. We embrace visual ideas and invention and are fed up with the dense, inaccessible, angst-filled, “deep,” and ugly art the art education, art institutions and the art market promote. We do not think that one should need a degree in art, art history, or philosophy in order to be able to “get” or appreciate a work of art. Whether the meaning in a work of art is contained in visual or non-visual ideas, we think that the meaning should be accessible through the physical piece of art itself. We are fed up with looking at ugly- but supposedly “very deep and insightful” – crap. Out with angst, we say! Back to beauty! Continue Reading

Pin Ups

Umbrella Pin Up

My Friend Trisha has completed a new set of photography. She calls it “pin up” photography and describes it with adjectives like “artfaggy” and “sec-say-ness”

Trisha Bowyer, photography

still life with a head by Trisha Bowyer

Trisha Bowyer is a friend of mine, and a damn fine phtographer, too. Trisha has published an online portfolio of photographs by Trisha Bowyer.

Steppenwolf

Steppenwolf: A Novel

I have started reading Steppenwolf by Hermann Hesse.
Unfortunately, I can’t link this book to my post(s) about it because Project Gutenberg’s entry on Hermann Hesse does not contain the text of Steppenwolf. It does include Siddhartha, which was a book that I enjoyed reading, very much.

At the Moulin Rouge

image: Henri de Toulouse-Lautrec, At the Moulin Rouge (detail), 1892/1895

The National Gallery of Art features an exhibit entitled Toulouse-Lautrec and Montmartre. It seems the exhibit is well titled, because it is about the district of Montamarre more than it is about the famous artist whose name entitles the exhibit.

Artists’ fascination with the decadent spirit and glamour of bohemian life in the Parisian district of Montmartre at the turn of the 20th century is the focus of this major exhibition of more than 250 works primarily by Henri de Toulouse-Lautrec (1864-1901). Paintings, drawings, posters, prints, sculptures, zinc silhouettes from the Chat Noir shadow play, and printed matter, such as illustrated invitations, song sheets, advertisements, and admission tickets, will be presented alongside depictions of similar subjects by fellow artists, including Toulouse-Lautrec’s predecessors Edgar Degas and Edouard Manet; his contemporaries Pierre Bonnard, Vincent van Gogh, and Pablo Picasso; and poster artist Jules Chéret.

The themes of the exhibition include dance halls, cafés-concerts, and cabarets (featuring a section devoted to the Chat Noir); and performers, such as Aristide Bruant, La Goulue, Jane Avril, Yvette Guilbert, May Belfort, May Milton, Loïe Fuller, and Marcelle Lender. The exhibition will be dominated by Toulouse-Lautrec’s most important paintings and celebrated posters, including A la Mie (c. 1891), Ambassadeurs: Aristide Bruant (1892), The Laundryman (c. 1894), Marcelle Lender Dancing the Bolero in “Chilpéric” (1895-1896), the Elles poster and album of prints (1896), and 12 of the 50 known Loïe Fuller prints from 1893, colored by hand by the artist.

Toulouse-Lautrec’s work will be seen in the company of important works by many of his contemporaries, including Van Gogh’s Agostina Segatori at the Café du Tambourin (1887); Picasso’s Le Divan Japonais (1901); and Degas’ Café-Concert (c.1876-1877). In addition to seminal paintings, the exhibition will feature a number of important early posters by Jules Chéret, including his Bal du Moulin Rouge (1889) and Folies-Bergère: La Loïe Fuller (1893), and Théophile Alexandre Steinlen’s Tournée du Chat Noir (1896).

Maybe it was because of the length of the line, which gave me time to read the entire text of the exhibition brochure, but I noticed that the exhibition had a text with it. The brochure, the placards beneath the artworks, and the writings on the walls were all taken from the same text. You can read that entire text in the exhibition’s website as well.

It was nice to see some reality shed upon the subject of the “Moulin Rouge” which has been popularized in a recent movie by that name. I had no idea until the exhibit that these words mean “Red Windmill” and that there was one such structure in the neighborhood, near the bar and the brothel.

image: Th�ophile-Alexandre Steinlen, Tourn� du Chat Noir (detail), 1896
Another popular hangout in the neighborhood of Montmartre was a club called The Black Cat, which was a scene of many of the performances advertized by the now famous posters by Henri de Toulouse-Lautrec.

What startled me about this exhibition was that I left it with very little sense of the mood of the place “with its skewed perspective, lurid colors, and perplexing social dynamic… both alienating and arresting — an embodiment of the spirit of Montmartre.”

I guess I’m just jealous of anyone who got to live in such a time and place. In short, this exhibition gave a fascinating account of the context surrounding Henri de Toulouse-Lautrec’s life and work (the hypertext if you will), but that in turn created a desire to know more about the setting, whic might be something inappropriate to discuss in a public setting such as The National Gallery of Art.