It seems to me that [spiritualism] encourages self-involved people to become more self-involved. Spiritual types often talk about the “universe” in the same way that a certain kind of Christian or Jew sees the hand of God in every banal event, or a certain kind of New Yorker broadcasts every little conversation he’s had with his shrink. And while these examples may show that narcissists are drawn to whatever feeds their narcissism, I do think that spiritualists are more likely to confuse causality with their own egotism. I’ve never heard of anyone visiting a psychic in order to learn how to be more generous with other people.Gordon Haber, The False Science
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:
TheNational 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.
“TheNational 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.â€
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.
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’sTrue North, Shelley Jackson’sPatchwork Girl, and M. D. Coverley’sCalifia. Section two offers essays on Geoff Ryman’s253 and Rick Pryll’sLies, Raymond Federman and Anne Burdick’sEating Books, and another on Ryman’s253. The final section focuses on Darren Aronofsky’s website for his film,Requiem for a Dream; the interface forebr (electronic book review); and the theoretical views underlyingGrammatron by its author Mark Amerika.
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):
- the art, science and technology journal Leonardo;
- the Leonardo Music Journal;
- the Leonardo Book Series;
- the electronic journal,
- Leonardo Electronic Almanac;
- and our World Wide Web Site, Leonardo On-Line
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.”
He 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.
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
Tonight, 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

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
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
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
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
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.

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.
Early Notes for a Hypertext Thesis
Competition With Cacophony:
To help explain what all this is about, it may help to have a copy of what I used to explain this stuff to the Humanities Professors.
Imagine that, instead of you everyday speaker, I am an ancient European tribal storyteller. That would mean that you, my audience, would not be sitting there so placidly. You’d be eating big slabs of meat, crude food. You would drink mead. It would be considerably colder in here. And I, with my story, would have to compete with all the camaraderie and cacophony of an ancient banquet. I would stand up on the table and yell!
Hwaet!
Bringing the Mountain to Mohamed
In fact, ancient literature often begins with similar attention getting devices. Those devices are have trickled down into today’s texts in a few ways, the lead paragraph of a newspaper article for example. That lead paragraph is weak compared to the ancient method though. A lead paragraph, a bunch of interesting words in print, it assumes you’ve already come to the page of your own accord. It doesn’t bring you to the text the way an ancient storyteller could. Its my contention that nothing in print does.
With all the things competing for people’s attention in our world today, its easy to imagine that whatever doesn’t compete doesn’t get seen, not by most anyway, and whatever isn’t seen by most is lost to most. Today, I would like to propose a method I have devised to make my writing more accessible, because I feel it is the first part of my job as a storyteller. I have found my own contemporary equivalent of yelling from the table. I have found it, first by looking at the things that are already yelling at everyone in society, and which of those actually get their message across, and secondly by examining ways in which my writing might borrow from these things in order for it to communicate more effectively.
Competition With Cacophony
Its an age old problem for storytellers. By Chaucer’s time, he makes a comment about the state of storytelling by integrating his characters’ stories into a contest in order to make them palatable. The promise of a prize, and the thrill of a contest is what keeps them listening.
Shakespeare had to compete with cock-fights. A writer in that day had to capture the attention of the same group of people who could just as easily be down the street watching two animals rend each other to bits. Those people were the bulk of his audience. If a playwright at that time, failed to win the attention of an audience, he would make no money and eat no food. Worse, the words would fall on deaf ears, or none.
The history of literature is dotted with cries for attention, because it is the attention that keeps literature alive. That cry will have to be a lot louder than a measly lead paragraph if it is to compete with all the other objects of our attention. We sit back, say “people should pay attention to literature more often”?, and wish that they did, but people’s attention doesn’t come out of nowhere. A merely wishful attitude will never put food on the storyteller’s table. Even ancient storytellers knew that much. It seems to have been forgotten these days
The language of literature is drowned out in contemporary society. It is drowned out by advertising language. It is drowned out by Cinematic imagery. It is drowned out by televised imagery. It is drowned out by rock lyrics, hip-hop lyrics, country music ballads, all of which could be much more lyrical than they are. If we’re not careful, the language of literature could be drowned out past the point of rescue. That may just be the way of things. The cock fight may win out in the end. What are we going to do about it? Academia insists that people read more “real”
literature, but what if they don’t want to? Personally, I am about to embark on a life’s work that will go unnoticed by most of the people I grew up with, most of my friends, and perhaps even a few of my family members. These people, literature isn’t attractive to them. If they do read anything I write, it will only be because they know me. Contemporary Literature doesn’t do much to attract an audience. It stands on its own merit, but only for those that recognize the merit of literature in the first place. The quality of literature, these days, is a sermon for the choir. The only people who foster an appreciation of literature are the people who read it because they appreciate it in the first place. This is because contemporary literature has lost touch with its ancient attention getting tactics. Gone are the days when literature could coexist with the cacophony of everyday life.
What Does Get Through the Noise?
How do you get that sermon for the choir out to the rest of the congregation? After all, those people need it. The answer to that question lies among the things that do get through to those people, among the things that are communicated to those people. For the most part, the language that gets through to us more than any other is advertising language. Advertising language has published itself on every medium ever known, from telemarketing to Internet banner ads. Its everywhere. I think that those tactics of advertising language are an unused fertile ground for a better language, the language of story. Those are the words that still get yelled from the table. It should be possible to yell just as loudly, and just as well, with different words.
How Would Writing Benefit from This?
If the problem is that Literature is a text that is drowned out and not received, then perhaps the solution lies in a medium designed to receive text. I propose that it should be possible to publish a novel, with a screen where there would be pages, and an audience where there would be none.
Can Writing Adapt to This New Medium?
Of course, a screen in place of a page poses a big set of creative challenges. How on Earth can you honestly expect to fit literature of any merit, let alone substance, onto something that is essentially a television? Volumes of “hypertext theory” have been written about this new medium, and what kinds of texts we can expect to come from it. In general, the most important aspect of this medium is the potential for non-linear communication. I think all of us, as fledgling internet users, quickly mastered the concept of the link. It may take much longer to fully realize its potential. Now, we’re no longer confined by the forced-linear structure of a book, where one pages leads naturally into the next. We can arrange ideas by association, in print, the way we keep them in our heads. It will be difficult to use a conventional plot structure. That’s fine with me. I don’t like the conventional plot structure. I’ll tell you why. The rising-climactic male-orgasmic way of things can not possibly be the only way events unfold. That structure can not possibly be the only one for a story. Its time for something new.
Conclusion
I will be telling a large story made of many smaller parts. The “Plot” will only be apparent as a sense of things comes together in the readers mind, after seeing enough of the text images.
These little snippets, on the screen, are important because they can be read in stolen moments, in line at the grocery store, or while standing on the subway. It will be a good thing to put literature on a screen, because there are so many screens already conveniently in front of so many people. Literature must thrive there, in front of so many people, in the midst of the cacophony of everyday contemporary busy-ness, where a good story might be needed most, if only it were given a moment of attention. Thank you for yours.




