#Working Class Arthur Manifesto | Explore Tumblr Posts and Blogs

cewritten23 · 2 months

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Surrealism

• began in 1924 and lasted until 1966

“Nature does not create works of art. It is we, and the faculty of interpretation peculiar to the human mind, that see art” Man Ray.

“Beloved imagination, what I most like in you is your unsparing quality”-

“Everything we see hides another thing, we always want to see what is hidden by what we see”- Magritte.

• Surrealist artists aimed to delve into the unconscious mind in order to reveal the abilities of our imagination.

• Influenced by rationalism, literary realism, and heavily influenced by psychoanalysis.

• Beloved that the rational mind did not allow us to fully embrace our imagination.

• inspired by Karl Marx and aimed for the psyche to reveal contradictions within our everyday lives as well as spark a revolution.

• having personal imagination puts surrealist artists on the same line as Romanticism.

• their interest in myth and primitivism influenced many other art movements within todays world.

• Andre Breton described surrealism as “psychic automatism in its pure state, by which one proposes to express- verbally, by means of the written word, or in any other manner- the actual functioning thought”

• surrealism and the idea of automatism allows artists to go past the conscious mind and bring our visions and thoughts to life through our art, in turn allowing us to embrace chance.

• Sigmund Freud’s theory and his The Interpretation of dreams, (1899) was heavily influential within the surrealist art movement.

• Surrealist imagery is the most recognisable of the movement.

• Each artist engaging with this movement used their own motifs and ways of working in order to convey their thoughts of their dreams and unconscious mind.

• Many of surrealist imagery is described as outlandish, perplexing and at times uncanny.

Key Artists:

• Andre Breton

• Hans Arp

• Max Ernst

• Salvador Dali

• Alberto Giacometti

• Joan Miro

• Rene Magritte

• Man Ray

• Yves Tanguy

• Leonora Carrington

• Pablo Picasso

• Meret Oppenheim

• Hans Ritcher

• Hans Bellmer

• Luis Bunuel

• Claude Cahun

• Remedios Varo

• Andre Masson

• Gala Dali

• Paul Eluard

• Louis Aragon

• Charles Baudelaire

• Arthur Rimbaud

Overview:

• Anti-rationalism of the Dada art movement.

• Made effective and work that was outwith the norms of the art world and gave a new direction for artists.

“creativity is that marvellous capacity to grasp mutually distinct realities and draw a spark from the juxtaposition”- Max Ernst.

Beginning of Surrealism:

• grew and developed from the Dada movement and was a rebellion against middle-class’s known judgements and ignorance against others.

This art movement was also inspired by Surrealist Giorgio de Chirico, Gustave Moreau, Arnold Bocklin, Odilon Redon as well as Henri Rousseau.

Artists from the Renaissance period were also inspiration for Surrealist artists, these included Hieronymus Bosch and Giuseppe Arcimboldo.

Breton is at times described as the 'Pope' of Surrealism as he officially founded the movement in 1924.

the term "Surrealism" was founded in 1917 by Guillaume Apollinaire.

Breton's manifesto, La Revolution surrealiste this included art and writing.

The Bureau for Surrealist Research or Centrale Surrealiste established in Paris in 1924.

Surrealism: Concepts, Styles and Trends

Artist utilised their fantasy and dream imagery to create works using a wide range of media in order to convey their inner minds in an eccentric, bold, and symbolic ways. In turn this exposed ones anxieties allowing the artist to use their art to help themselves.

Surrealist Paintings:

works like Salvador Dali, Yves Tanguy and Rene Magritte's paintings were create with hyper-realistic imagery were all objects were depicted in very sharp and crisp detail with a three-dimensional quality, in turn drawing attention to their dream-like appearance and atmosphere.

works like Joan Miro and Max Ernst used many techniques and media such as; collage, doodling, frottage, decalcomania, and grattage to create their surrealism artworks.

Rise and Decline of The Surrealism Art Movement:

global war and political issues had negative effects on the views towards the art movement as civilians were in a state of crises during the 1930s and 1940s.

During World War 2 many Surrealist artist emigrated to the Americas which resulted in their ideas and work being recognised on a larger scale.

Ideas and views towards Surrealism changed and challenged due to the rise of Existentialism.

Abstract Expressionist artists were inspired by Surrealism, however Abstract Expressionism took over and invented new techniques in order to convey the unconscious.

British Surrealism:

Female Surrealist artists; Eileen Agar, Ithell Colquhoun, Edith Rimmington and Emmy Bridgwater.

The British interpretation of the Surrealist movement was towards thoughts of humans relations to their surrounding natural environment, specifically the sea.

Paul Nash had an interest in the object trouve which involved collecting objects from the beach.

The International Surrealist Exhibition (1936) in London, a major event for many British artists, in turn allowing the Surrealist art movement to thrive in the UK.

The Persistence of Memory (1931) by Salvador Dali

How does this relate to my work?:

When painting my sinister characters I use my imagination or images I have seen when sleeping in order to create the faces of my sinister characters. It is as though I am entering my own pitch black world where I can see these face formulate in front of me. Once they have formulated enough in my head i automatically convey their imagery onto the canvas, not thinking too much about what they will look like. I almost allow the medium and my hand to do their own thing. My works have been more refined and soft in shape much like some of the shapes within surrealist paintings, however, I have been experimenting with a new technique that allows automatism to surface allowing my to have less control on the overall outcome of my paintings. These images in my head are other worldly, I do not see them in my everyday life unless I force it in order to create my paintings. They are not images that the people around my can see unless the engage with my art.

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abefarnsworth · 9 months

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RRRR, SSSS

Gerry Rafferty _ Shoots and Ladders

Ramones - ST

Rare Earth - One World

Raven - ST

Otis Redding - It's not Just Sentimental

Otis Redding / Jimmy Hendrix - Live at Monterey

Red Monkey - Difficult is Easy

Jimmy Reed - Roots of the Blues

Leon Redbone - From Branch to Branch

Leon Redbone The best of Leon

Reo Speedwagon - You can tune a piano but you can't tuna fish

The Replacements - The Replacements stink

The Replacements - Let it Be

The Replacements - Pleased to meet me

The Replacements - Tim

Reversal of Man- This is Medicine

Charlie Rich - Behind Closed Doors

Lionel Richie _Can't Slow Down

Kenny Rogers - Greatest Hits

Linda Ronstadt - Prisoners in Disguise

The Rolling Stones - December's Children

Diana Ross - Live at Caesar's Palace

Roxy Music - St

Roxy Music - Manifesto

Run Dmc - ST

Rye Coalition - He Saw Dhuh Kaet

Buffy Saint Marie - It's my Way

Santana - Santana and Buddy Miles Live

Saturday night Fever - Soundtrack

Bob Segar and the Silver Bullet Band - Live Bullet

Bob Segar and the Silver Bullet Band - Night Moves

Bob Segar and the Silver Bullet Band - Against the Wind

Kermit Schafer - For Those Who Have Everything

Scorpions - Love at First Sting

The Sea - Sebastian Strings

Seals and Croft - Summer Breeze

Seals and Croft - Greatest Hits

Seals and Croft - Diamond Girl

Ravi Shanker - Live at Monterey

Shotmaker - Mouse Ear (Forget Me Not)

Carly Simon - Hotcakes

Carly Simon - The Best of

Carly Simon - Come Upstairs

Paul Simon - The Best Of

Paul Simon - Graceland

(Music of Paul Simon) Arthur Fielder and the Boston Pops

Nina Simone - Live at the Village Gate

Bucky Sinister - Sensitive Badass

The Sisters of Mercy - First and Last and Always

Skinny Puppy - The Perpetual Intercourse

Slayer - South of Heaven

Slayer - Seasons in the Abyss

Slayer - Hell Awaits (Picture Disc)

Slick Rick - The Great Adventures of Slick Rick

Patti Smith Group - Waves

Spirit Assembly - Welcome to Lancaster County

Spitboy - True Self Revealed

Dusty Springfield - Stay Awhile

Rick Springfield - Working Class Dog

Bruce Springsteen - The River

Bruce Springsteen - Born To Run

Billy Squier - Don't Say No

Steel Breeze - ST

Steppenwolf - Live

Steppenwolf - Born to Be Wild

Cat Stevens - Tea For Tillerman

Cat Stevens - Teaser and The Firecat

Cat Stevens - Greatest Hits

Cat Stevens - Mona Bone Jakon

The Stranglers - Rattus Norvegicus

Stravinsky - The Rite of Spring

Stray Cats - Built For Speed

Styx - Paradise Theater

Styx - Kilroy Was Here

Suicidal Tendencies - ST

Donna Summers - Bad Girls

Supertramp - Breakfast in America

Supertramp - Famous Last Words

The Sweet - Desolation Boulevard

Swell Maps - Jane From Occupied Europe

The Swimming Pool Q’s - The Deep End

Swans - Filth

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chickpeatalia · 3 years

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I heard "working class!Arthur" and I can't think of anything else yes please!!!

Anon, I know you didnt exactly ask for it, but now that you have put the words “working class!Arhur” into my ask box, you have practically opened pandoras box so I’m just gonna go ahead and talk about it anyway. *mwua* First things first, I shall note that I am not in fact British, so I might not get a few things right. Second, what we’re gonna talk about today is a rather specific human AU that lives in my head. Third, this ended up being....incredibly long, I’m sorry. The rest is under the cut!

So, why is working class Arthur splendid?

Obviously, there are many different version of how to do a human AU, and oftentimes fandom likes to go down the rich/royal/elite!Arthur route. Which, in fact, is super valid and oftentimes quite fun too. I like these versions too. However, I think oftentimes a working class background is favourable because 1) it makes more sense, to me, on a meta level and 2) it has a certain charm to it.

Lets consider the meta level first: - despite stereotypes, Great Britain does not consist of aristocracy and royals alone. What are 600 arstocratic families to 60 million of the rest of the population? - the Industrial Revolution started in Great Britain - factory work, steel mills, textile and most prominently, coal mines in the North of England were all operated by the workers. I feel like in Britain, social classes matter way more than on continental Europe, and also to me personally the working class seemed like a particularly important one, historically speaking. Okay, enough history for now, so lets get into the human AU: - Arthur, who grows up in a large family with four brothers (Alasdair & Dylan who are older. And Sean & Peter who are younger) - his parents had Alasdair very early on and you know how it is. With a baby on the way, you got to make the best out of it and take the first stable job you get. (Which was in Glasgow at the time). - but unforntunately high unemployment rates hit the country, especially the working class (thanks Maggie T</3) and what to do if you lose your job and no new work is to be found? Well, you just go and look somewhere else. In the Kirklands’ case, that somewhere else is Cardiff, Wales where Dylan is born. - So they end up sort of moving quite a lot, practically in every part of the UK, in hopes of finding stable jobs for a bit. - Eventually they settle in a suburb of Manchester, England at long last.

- And life goes on

- They recycle so much clothes between the brothers. A good 40% if not more of Arthur’s clothes used to be either Alasdair’s or Dylan’s. - In turn, Sean and Peter also get Arthur’s old school uniforms. Theyre not particularly nice after all these years, but look, they have five kids. They simply don’t have the money for new ones. ( “Says much about the efficiency of a system when it forces you to wear school uniforms in order to avoid social stigmatisation and yet makes you buy the uniforms yourself, as if richer people couldn’t afford the better ones anyway.” Arthur would say darkly) - lots and lots of second hand shopping. (this is where Arthur got is first leather jacket and Doc Martens from, and yes, this is also when his punk phase has started) - thus his outfits tend to look quite ...interesting. A various mix of old jumpers from the 90s, Dylan’s old plaid shirts and some band t-shirt he got for £5. - one year, he and his brothers were looking for a gift for their mum’s birthday. Arthur didn’t have any cash anymore (yes, it was after he bought the Doc Martens, sacrifies had to be made), so he suggested he tried to bake her a cake. Much cheeper than any other gift. Obviously his brothers mocked him for it (until they actually tried the cake and found out that it actually tasted quite good). Since then Arthur took up baking here and there, and his brothers while not encouraging, do not mock him anymore. They do hope he makes the lemon cake again for Ma’s next birthday though

- SCHOOL ho boy... so the thing is, Arthur is rather clever.

- Academically, he was above average. Acing it in subjects like English and History, being quite good in French (no, he does not bring this fact up often...or...at all), and getting decently by in the rest. Except that one time in PE when he got rowdy with the other boys during a football match (no, not our boy’s brightest moment). - He is intelligent, he even understands subject that he doesn’t particular like, like chemistry. He is quick-witted and sharp tongued and has a natural talent for words and writing. Even rather sophisticated articles and topics do not resent a challenge for him. - Naturally, Arthur toys with the thought of going to university and immediately wants to slap himself for that ridiculous idea. - The thing is, nobody in his family has gone to university so far. Like, he has no, absolute no frame of reference what it entails. - Being from a working class family and then going to university is a scary thing, man. - also, being £30,000 in dept by age 18 is a terror of its own kind - Eventually, he contemplates applying maybe perhaps for the local university and that information seeps through to Alasdair who found it to be a rather ridiculous endeavour. - “Look, you’re shitting your pants about this application one way or another, so why not just go immediately for the top universities instead. If you get rejected, well, at least you got rejected by one of the top universities in the world. But if you get accepted....” “Aw, are you saying you think I could get accepted by one of the best universities in the world?” “I’m not saying anything, you wee little shit. Don’t put words in my mouth. But......being the overachieving know-it-all that you are, you might have a chance.” - For as long as he lives, Arthur’s never gonna admit it but this conversation might have really been the most meaningful thing Alasdair has ever said to him. - And yes, he does apply and yes he does get accepted.

FURTHER HEADCANONS:

- he toned it down by now but the punk never died in him. lots of LGBT+ pins on his jackets too. - that being said, he hates it when people think punk is an aesthetic rather than a political stance (”You cannot be bloody punk and right wing. You just cannot!”) - genuinely likes the taste of beer. Or it might be that it was the cheepest alcoholic beverage he could manage to buy. Situation unclear. - is so prone to get into bar fights oh dear lord when he says “fight me”, he genuinely is 100% down to throw hands even if you beat him bloody - obviously, always votes Labour - will call you a cunt if you’re a Tory - unrelated to anything, but I think he’d wear earrings regularly and they’d be cute - also, has a tendency to dye his hair in crazy colours when he is under pressure - one last thing: oftentimes, Arthur strikes people as incredibly cynic or gloomy or ‘overly engaged in politics’, but growing up the way he grew up, facing so many hardships through the years of which many were directly caused by careless conservative politics...its just hard not to be cynic. My final words here are: this is most definitely not what you were looking for when you sent that ask, anon, but I seriously needed to get this out of my system. If anyone wants to ever talk about my favourite boy Arthur, my ask box is always open.

Thanks for coming to my TED talk<3

#Working Class Arthur Manifesto #wcam #YES its getting THEE tags cuz ive been writing this for two hours now #anyway.......... feels good to have these thoughts out now #love my boy art<3 #hws england #aph england #Anonymous

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thurisazsalail · 3 years

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I’m tired of ‘leftist’ anti-intellectualism and America-centric xenophobia posing as liberalism.

Protip: If you are anti-academia on subjects of culture not being taught by someone genetically from that culture, even if they know nothing about the culture they are talking about and have never participated in it and were never raised with it... over someone who actually does have a background in knowledge from people of that culture who lived in it and were raised in it... you might actually be the imperialist you are talking about fighting against. You might actually be silencing the people you think you are elevating through deplatforming actual sources from the cultural background talked about, artificially holding up someone with the right genes but no heritage or ties. You might want appearance over substance to be a “good person.” Rethink your views on academia. Think critically. What sources is a person using? Does a person talk about Africa like it's a country and not a continent (ew), or does the person have a list of resources about specific cultures as spoken about by the people from those cultures? Do they make effort in finding anyone from that culture to present or speak in class, if possible? Do they show videos of those people, which are not denigrating to them? Did the person work hard to find resources for you in a language you understand, or did they work to translate for you? Or are their resources some old white dude from 200 years ago, like using the Budge translations for (ancient) Egyptian? Did they quote Fiona Graham or Liza Dalby on geisha? Because of those people is a damn liar who took a fucktonne of money and prestige from an ailing geisha house and ran, and one actually trained as an anthropologist who spent time in Pontocho, where they knew exactly what she was there for and they suggested she debuted as a geisha to better understand them. Does the person gloss over issues like war or genocide? Or do they say, "Yeah, we should probably talk about that. In fact, you can use some example from recent history to understand the attitudes a bit better. Here they are, and here are some differences. Here are some further reading (and if available, video) sources, including from the groups that got really fucked over." If you SAY you are into historybounding (taking historical elements in your wardrobe and making it ‘new’ fashion) and you want to make the frilly French dresses and the London fog coats, but don't ever want to talk about how people eventually used the Versailles floors as a latrine because of the decadence and wanton wealth they collapsed into... and how the common people suffered because of it... Or how England discriminated against it's own people heavily, relegating Jewish English people to certain neighbourhoods or refused jobs to them, or treated the Moorish-descent like shit, or actively would beat the Irish in public and stole their land... you might not be into history or culture. You might just like looking at the pretty things and copying them. You know. Probably culturally appropriating (if not borderline doing so). Not just "history bounding." People in a marginalised group often have to learn things about our own groups’ history, or else we might see "Stonewall" and believe that a white guy threw the first brick, or that "queer" is a slur. Our own people, gasp, might have to learn from... academia. And strangely, I know, it's so weird, but some of the people who teach... use primary sources (that’s sources from the time/place/people the source talks about, like Gay Manifesto written by gay man Carl Wittman)... or are closeted about being experts on the subjects... because they are talking about their own groups and STILL face discrimination and might lose those precious jobs if they are out... and they're just not identifiable by your *outsider* standards. And sorry, but if you don't know your own history, yes, you are an outsider in that sense. Yeah, I can trace some of my family lineage to Turtle Tribe Seneca. But I am an outsider because the only reservation I've ever been on is the one to Olive Garden. I might have to *gasp* turn to actual knowledgeable people to learn something about that. I can't just dress up in whatever or do whatever and say, "No, it's okay! My great-grandmother is Seneca!" and then claim not knowing better because my heritage was stolen by federal American laws. That's not how that works. There is some tentative evidence that some of my family was Jewish before hiding it and coming to America in the late 1930s. But I still have to go through an official conversion process. I still have to learn Jewish history and Jewish culture, and about Jewish diaspora issues. That’s how it works. If you are Japanese in Japan, same thing applies to certain things. Like if you are performing tea ceremony with your school, you can’t just wander in to most of them with whatever pretty kimono you want. There are rules for that. It is a language, not just a dress. You will be sent home. If you don’t want to adhere to those rules, you will not be accepted. That’s how it works. It sucks, totally. But welcome to real life. You might have to actually work at things... Including managing your feelings and not making other people responsible for them. You might have to take responsibility AND bury your ego long enough to learn from educated people. One tip is... Question sources! That was my biggest gripe ten years ago! Plenty of books about Japanese culture, and all of them with lots of white people (white according to American-centric ideas about whiteness) writing the narrative! I had to work to find books about Japanese social ideas written by Japanese authors. You might have to work, too, and not blame other people for not just *handing you shit.* But in the end, accept that other people might know more than you and that is isn't about being Uppity by nature. It's also about "I have all this, you want some?"

If you don't want to learn, then you have to leave the classroom. You can't be a child, throwing a temper tantrum. You're a grown-up. But don't just assume by someone's face that you magically already know how things will be. Ask for a list, a syllabus, a source, a curriculum vitae. That should give you some insight on what to expect. Ask for clarification. Oh, this class is teaching Arthur Conan Doyle? WHAT are they teaching about him, specifically? Erasure isn’t the answer, here. That legacy still exists.

Stick to a scope: you can't fit six books of info in one hour. You need to stay focused. That's part of learning. No "whaddabouts?" Yes, write them down and message them in! But they might not be for this specific post, lecture, or class. The class might need a thing right then, like when my Humanities prof decided that Britain just "had a skirmish" with Benin. No, they committed genocide because Benin refused to become a colony of England, and you need to know that RIGHT NOW while the class is happening, before the moment is gone or internalized. But if you have a side comment about what happened to diaspora in WW2 once they moved to Hawaii and Brazil, the focus of the class might be on experiences *in Japan* and not on diaspora. Email it. It might become another class. There isn't time for that right now. That doesn't mean the prof hates diaspora Japanese. It doesn't mean diaspora don't matter. It just means that the class is limited in focus and time, and right now, the focus isn't on diaspora. Don't make a big dramatic deal about it. Instead, idk, maybe write a well-sourced paper on diaspora experiences while fleeing hostile Showa-era takeover and release it publicly. You can just... do that. I've done that with transcripts for movies that don't have them, for essays on various topics. You can even get paid for that content! No one had to "approve" me. I put it on fucking Tumblr so everyone could have it. Open-source means something. jfc people. Stop whining. Start having open conversations instead of shutting anything new or different down. Stop the anti-intellectualism disguised as liberalism. Stop the xenophobia and nativism disguised as cultural protection. It's great when a culture decides for itself that most people (from that culture) don't want foreign interaction or interference! Leave them the fuck alone! It isn’t hard! Some cultures are closed. Some are semi-closed, like there’s certain things you can learn about or participate in but others are only for people from that background. But don't get mad when a totally different culture doesn't care or uses it for leverage. You don’t get to dismiss a different culture or denigrate them under the guise of “protecting” other POC by erasing them. And if your excuse is (Culture/group) is imperialistic/all people of ____ descent/race are _____ DUDE FIRST OF ALL WTF and second of all, let me tell you something about American history. French history. English history. There are some nuanced conversations we COULD have here, like adults. Or you could just be honest and say, “This isn’t a conversation I’d like to have right now.” That’s totally fine. Sometimes you just don’t have the spoons or time. I often don’t, being disabled. Or you could shut down like a child and say that this is fine but then mute all posts until you get your way, and anyone who posts an actual source is wrong or bad because intellectuals and experts are suspicious. Your choice. Real life is complicated. Figure it out instead of trying to reduce hard things to a box to fit in easily. Expand your world past your little tiny experiences in your own country and background. Stop assuming every fucking thing in the world works like it does in America. Stop approving/disapproving of any information that doesn’t match up with your American morality or experiences- there are *other people* that deal with things other ways than we do. Stop wholesale condemning anyone better informed than you just because of your ego. Start using some of those critical thinking skills you are supposed to have. If you don’t know how, type “critical thinking development” into youtube for tutorials. -------- Edit: hahaha I KNEW that Tumblr deleted something when it highlighted it. I just couldn’t figure out what at the time. The difference between Graham and Dalby: one worked in Pontocho as a geisha for research, and they knew that ahead of time; Graham lied her ass off to geisha and then tried to open her own house after taking only a few lessons to get famous and make a lot of money. She’s a fucking embarrassment and worse. --------------- Update 11/3 Turns out that dig I made about French costuming (a perennial fave in historybounding and historical sewing groups) and imperialism wasn’t all that far off... here’s a whole ass thread about how many fucking African presidents and leaders France has specifically killed, and how much France has done to just Africa relatively recently. That’s JUST to Africa. I bet some of my Mi’kMaq and Algonquin-descent friends would have some things to say about heritage erasure regarding the French. https://thurisazsalail.tumblr.com/post/633807847387512832

#america #american centricism #academia #anti-intellectualism #xenophobia #childish af #liberalism #intercultural #historybounding #intracommunity issues

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reel-em-in · 4 years

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Representing the Real - Introduction to Documentaries

General:

It is important to work within an ethical framework. Wether those ethics are the same for every documentarian or not is questionable, though you have to make decisions about what you feel is right.

documentary filmmaking has been described as “The creative treatment of actuality.”

Although documentaries are shown as being representative of what is real and of the truth, there is a paradox created through the use of editing. Between what is real, and the way a filmmaker represents that reality.

Key People / Times in Documentary Filmmaking

John Grierson

Pioneering Scottish film producer who also helped to set up the Canadian Film Board.

Received his funding from the government as well as private companies.

Saw documentary film as an educational tool for social reform

Had a focus on the working class

Worked on films between 1929 and 1968

Due to the equipment available (especially during his earlier work) sync sound often wasn’t able to be recorded. Especially if things were being filmed on location. This meant that voice over was often recorded later. This lead to the Voice of God style of voice over, omniscient to what is going on on-screen. And something that is still used to this day, though now it is through choice rather than necessity in most cases.

Grierson was part of the British Documentary Movement

Housing Problems (1935) - a social documentary that is often seen as the beginning of corporate films. The images illustrate the voice over, as well as using interviews to provide further context. This was one of the first times that interviews and sound were filmed on location.

Robert Flaherty

Moana (1926) was one of the early films described as having ‘documentary value’

Nanook of the North (1922) - was originally shot with different footage, though Flaherty didn’t like it / it got lost. This lead to it being re-shot with more of a narrative, following a character.

The main character in Nanook of the North wasn’t actually called Nanook, and his ‘family’ in the film were not his real family. Or even related. The whole film is basically a reconstruction, with some aspects of what was shown not even being accurate to life at the time (e.g. seal hunting with spears, which wasn’t really done during the 1920′s). Flaherty argued that he did this so that ways of life that were gradually being forgotten about could be documented. Because of this people often question wether Nanook of the North can be considered a documentary.

Dziga Vertov (AKA David Kaufmann)

Russian filmmaker post WW1

Saw the camera as omniscient and superior to the human eye.

Saw montage and editing as having major possibilities.

Vertov believed that narrative/Hollywood style cinema was a drug to pacify the masses, he wanted to use cinema to wake people up.

Vertov created Man With A Movie Camera (1929) in an attempt to create a universal language of cinema. It involves a lot of perspective tricks and double exposure (similar to ‘trick films’ of the time). In some ways it even looks like a thought process.

Dziga Vertov created a series of films titled ‘Kino Pravda’ or ‘Film Truth’.

His films look ahead to a future with a classless society, whilst acknowledging the inequalities of the time.

Vertov was largely forgotten about until 1960.

Early 1960s

The equipment filmmakers were able to use was improving quickly. With 16mm cameras being developed as well as fast film stock that allowed for shooting in lower light environments. Portable sound recorders were also now an option, allowing for sync sound on location.

A group of filmmakers (Robert Drew, D.A. Pennebaker & Chris Hegedus, Albert & David Maysles, & Charlotte Zwerin) created the manifesto of Direct Cinema.

Direct Cinema is a style of documentary making where they wanted to capture things directly. Leaving things up to interpretation (no voice over), using non-stable camera movements (handheld), constructing the narrative of the film in the edit, and working observationally.

An example of this is Highschool (1968, dir. Frederick Wiseman) the crew were filming in the school for weeks, with the aim being that the subjects would get so used to him that they would forget he was there. Within this type of film the characters and the narrative arcs they create are of great importance.

This style of documentary often used a very small crew, but they would be working for months in order for the subjects to get used to them, and act naturally around them.

Jean Rouch

French visual anthropologist.

Anthropology played a large role in the development of documentary film.

Jean Rouch began putting more thought into the question of ‘who is doing the observation, and who is being observed?’

This lead to the use of the Participatory method of documentary filmmaking.

Cinema Verité (”Cinema of Truth”) does not try to conceal the existence of the filmmaker (as Direct Cinema did), but rather allows the filmmaker to play an active part in the film. Acknowledging the subjectivity of the filmmaker.

This style of documentary is about creating encounters to uncover a hidden truth. A good example of this is in the work of Louis Theroux, and Nick Broomfield.

Bill Nichols’ Documentary Modes:

Poetic Mode - ‘Reassembling fragments of the world.’ This type of documentary moves away from the use of linear continuity and structure, and instead arranges its shots through their tones, associations and rhythm. They are a more subjective and abstract representation of reality. This is often associated with avant-garde filmmaking.

Expository Mode - Also referred to as ‘direct address’. This style of documentary uses a Voice of God narrative voiceover/ talking heads. Their aim is to educate their audience and explain their subject. They aim to objectively inform.

Observational Mode - Also referred to as ‘fly-on-the-wall’. Nothing is staged, though arguments can be made about how natural someone can be when a camera is present, despite how non-intrusive it is.

Participatory Mode - “[when] the encounter between filmmaker and subject is recorded and the filmmaker actively engages with the situation they are documenting.” These are often investigative films, where a question is asked or a controversial topic is explored and the filmmaker is showing the audience the filmmaking process. The filmmaker can become an integral character within the film. The filmmaker does not influence the subject but will attempt to subjectively engage with their subject despite their personal beliefs.

Reflexive Mode - The reflexive mode will provoke audiences to “question the authenticity of documentary in general”. Mocumentaries can sometimes fall under the reflexive mode due to their self-awareness.

Performative Mode - The direct opposite of Observational. They emphasise and encourage the filmmaker’s involvement with the subject. They tend to be more emotionally driven, with the filmmaker more passionately involved. Performative documentaries do not set out to reach a truth but show a perspective or ‘what is like to be there’.

Recommendations:

Films:

Drifters - John Grierson

Night Mail - Basil Wright & Harry Watt

Housing Problems - Edgar Anstey, & Arthur Elton

Moana - Robert Flaherty

Nanook of the North - Robert Flaherty

Man of Arran - Robert Flaherty

Man With A Movie Camera - Dziga Vertov

Highschool - Frederick Wiseman

Anything by Louis Theroux

Biggie & Tupac - Nick Broomfield

Gates of Heaven - Errol Morris

The Thin Blue Line - Errol Morris (Not to be mistaken for the TV series featuring Rowan Atkinson)

Salesman - Albert Maysles, David Maysles, Charlotte Zwerin

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literastudy · 6 years

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Ever wanted to start reading French authors and French literature, but never knew where to start? Here is a list of major works that are seen as staples of their movement or era for you to start with. 😋 (This is part 2 of 2, it covers literature after the French Revolution.)

Please note that this selection is arbitrary and not exhaustive, and many more authors and works could be included here, but it was necessary to make choices for the sake of providing a relatively brief but comprehensive list. Titles are provided in their original French version to avoid any confusion.

E. Romantism

Les Fleurs du Mal by Charles Baudelaire Poetry (sonnets and others) 1857

Judged to be scandalous because the author talked about darker subjects, creepy themes or just plain ugly things and glorified them, it is a masterpiece of romantic literature and a very good reference for understanding the movement around the figure of the poet during the 19th century in France.

Méditations poétiques by Alphonse de Lamartine Poetry (alexandrines and others) 1820

Lamartine’s collection of poems is considered by some to be one of the first major works of romanticism, in the form that it was going to take during the 19th century. His work is a great embodiment of the romantic image of love and nature.

Les Contemplations by Victor Hugo Poetry (alexandrines and others) 1856

While he is more widely known for his realist success Les Misérables, Hugo’s poetry is strongly aligned with romanticism and exploits its major themes in a deeply personal way, considered autobiographical by most.

La Mare au diable by George Sand Novel 1846

Don’t be fooled by her pen name, George Sand is a woman. This novel is part of the vogue of pastoral fiction during the 19th century, which is deeply embedded into romanticism by the way it is presented by the author. Lyrical and fantastical, this novel tells the love story of a man trying to break his widowing.

On ne badine pas avec l’amour by Alfred de Musset Theatre (proverb) 1834

On ne badine pas avec l’amour was meant to be a proverbial play, with a light plot and a moral at the end, but Musset’s love quarrel with George Sand as well as his literary influences of the time brought him to make his play move more and more towards the romantic drama genre. A good example of a romantic influence in an otherwise not so romantic piece.

F. Realism

Le Père Goriot by Honoré de Balzac Novel 1835

Balzac is the gigantic master of realist literature. His novel depicts the ambitions of Eugène de Rastignac, a young provincial man who came to Paris to study law and decided to pursue a higher social status thanks to his somewhat noble name and the help of Vautrin, a mysterious man living in the same pension as him. Balzac’s care for detail and motivation for every character’s move is clearly laid out in this novel, which is considered by some the foundation of La Comédie humaine.

Germinal by Émile Zola Novel 1885

Germinal tells the tale of the unjust field of mining work in France during the late 19th century and puts in play a workers’ strike against an unfair company’s practices. But this is just a setting to allow Zola to pursue his novels about an infamous curse that runs in the blood of Étienne Lantier.

Madame Bovary by Gustave Flaubert Novel 1856

Considered by many to be the masterpiece of classic French literature, Madame Bovary is a novel in which a middle class woman who was dreaming of a better, bourgeois life, lives above her and her husband’s means to trump the ennui, and ends up crumbling in debt, like many people of the time did.

Le Rouge et le Noir by Stendhal Novel 1830

Stendhal’s novel tells the story of Julien Sorel, a young man who falls in love with someone he doesn’t have the right to love and aspiring to a grandeur far above his means. Like Balzac’s books, Stendhal’s novel shows that everything happens for a reason.

Le Horla by Guy de Maupassant Short story collection 1887

Guy de Maupassant is one of the first major authors to give a try at the short story form. His tales had a specific structure with a twist at the end and, like Edgar Alan Poe (who he references explicitly in at least one of his stories), often have a sense of eerie and mysticism around them.

A note on romanticism and realism: Since these currents are contemporary during most of the 19th century, all of the authors presented in both currents are more or less influenced by the other, and some of them are associated with the other current for another part of their work. The classification here is more or less arbitrary.

G. Surrealism

Precursors of surrealism:

Les Chants de Maldoror by Comte de Lautréamont Poetry (prose, long form) 1868

Long forgotten by his contemporary readers, Lautréamont was rediscovered by André Breton and other surrealists and was a major influence to their movement, explicitly cited as one of their masters. The plot of this work is surrealist in many ways and doesn’t have a linear progression. Rather, it is a collection of episodes only held together by the presence of Maldoror, a maleficent man.

Les Mamelles de Tirésias by Guillaume Apollinaire Theatre (surrealist drama) 1917

This play is a play built on the surrealist model of exaggeration, fooling around with conventions and destroying standards. It is feminist in many ways. Guillaume Apollinaire himself is most well-known for his calligrammes, which are poems written in the shape of a drawing (examples here and here). Apollinaire is also said to be the one to have coined the term “surrealism”. Arthur Rimbaud was a strong inspiration for him.

Du monde entier au coeur du monde by Blaise Cendrars Poetry (free verse) 1957

This collection of poems is a posthumous collection of nearly all the poems written by Cendrars in his young days. His practice of free verse as well as his use of newspaper cutouts to form poems are part of what makes him a precursor and influence of surrealism.

The Surrealist movement:

Manifeste du surréalisme by André Breton Manifesto 1924

This text is a detailed explanation of all the ideological tenants of surrealism. Among them, the important value of the subconscious mind, dreams, automatism and automatic writing, and anticonformism should be noted, as they are principles embraced by all the authors associated with the movement. The main ideological belief of surrealism is that the subconscious mind is the ultimate source of aesthetic and artistic truth.

Le Théâtre et son double by Antonin Artaud Essays 1938

This series of short essays explains the tenants of Theatre of Cruelty as a theatrical form that seeks to break with the norm and solicit all the senses of the audience, to bring it in and engage it in an experience. His theory is heavily influenced by surrealism, although he broke from it earlier.

Exercices de style by Raymond Queneau Short story 1947

Raymond Queneau was a surrealist in his younger days, but broke from it and ended up forming his own literary association, with the help of François Le Lionnais, the OuLiPo (which stands for Ouvroir de la littérature potentielle, “Opener of potential literature”). The main objective of the OuLiPo is to encourage creativity through formal constraints, hence why Exercices de style, where the same, simple story is re-told 99 times in different ways. (Famous authors of the movement include Georges Perec, author of A Void (La Disparition) and Italo Calvino, amongst others.)

L’Écume des jours by Boris Vian Novel 1947

Boris Vian’s book draws heavily from surrealist influences in its poetic imagery, being full of incongruous metaphors and figures of speech, with an environment that resonates with the characters’ feelings in ways that go far beyond the usual. Sadly, it did not gain any recognition during the author’s lifetime, but it became one of the most important novels of the 20th century. (Note: I recommend strongly that you read at least some of Jean-Paul Sartre’s works before you read this one.)

H. Existentialism

La Nausée by Jean-Paul Sartre Novel 1938

A philosophical and somewhat autobiographical novel, La Nausée presents the main tenants of surrealism as they will be found in Sartre’s philosophical essays. It tells the tale of a man taken over by nausea because of the very task of existing. (This philosopher is also known for his close relationship with Simone de Beauvoir.)

La Peste by Albert Camus Novel 1947

La Peste, just like the author’s most well known book, L’Étranger, seeks to show the absurdity of existence in a city taken over by the plague. It is not without strongly resonating with the rise of Nazism that led the world to WWII.

Rhinocéros by Eugène Ionesco Theatre (Theatre of the Absurd) 1959

While Eugène Ionesco strongly denies any ties to existentialism or philosophy in his theatre, it’s easy to see the ideological ties between Camus and Sartre’s works, and Ionesco’s plays. Rhinocéros tells the story of a town taken over by an outbreak of a strange illness that turns everyone into rhinos. It can also be seen as a metaphor for the rise of totalitarianism and Nazism that led to WWII.

I. Nouveau Roman

La Jalousie by Alain Robbe-Grillet Novel 1957

La Jalousie seems on paper to be nothing but an ordinary love triangle, but what makes the Nouveau Roman is not the content of a book but its form. It is written in a non-linear, circular, redundant way, and told by an overly invasive and at the same time totally absent narrator that distorts and shapes the novel to his will.

Détruire, dit-elle by Marguerite Duras Novel (and movie) 1969

A novel around the strength of desire, Détruire, dit-elle has a minimal action set between four characters, and where destruction becomes the way of self-preservation. The book itself is written more as a collection of fragment than as a long, cohesive story. (Marguerite Duras directed herself a movie based on her book, which came out on the same year.)

Les Fruits d’Or by Nathalie Sarraute Novel 1963

This novel has no main character. It is a practice of the mise en abyme taken to the extreme, a figure where a fiction contains in itself another fiction, which has characteristics that mirror the first degree of fiction.

La Modification by Michel Butor Novel 1957

This book has a narrator that speaks with the second person plural, making the figure of its main character confound itself with the reader, and taking the reader on a trip from Paris to Rome and a train trip through the character’s consciousness. The trip itself has an influence on the novel’s structure.

Les Années by Annie Ernaux Novel 2008

Annie Ernaux’s novel is loosely tied to the Nouveau Roman by her choice of an autobiographic, stream of consciousness telling, but distant from it by the ideological content concerning the rise of consumerism in 20th century France (the Nouveau Roman writers typically distance themselves from any kind of social, political or philosophical commentary).

Note on surrealism, existentialism and Nouveau Roman: During the 20th centuries, very few authors actually followed a program during their whole life, and most of them were influenced on various levels by other movements. Some authors were only included for being influenced by a movement.

This is all for the second part! If you missed the first, you can find it here.

#studyblr #literature #books #french #reading #booklr #bookblr #studyspo #studyspiration #studying #study inspiration #university #bookworm #mine

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sinrau · 4 years

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Tristan Harris, former Google design ethicist and co-founder of Center for Human Technology, appears before Congress in “The Social Dilemma.” (Netflix)

Picture, if you will, a high-tech voodoo doll of you on a server somewhere. Probably more than one server.

While the makers of that reverse-engineered avatar might not be sticking literal pins into it, in “The Social Dilemma,” filmmaker Jeff Orlowski makes a fine case that in mining data from your onscreen interactions, they are constructing a predictive version of you and trying to prick your interests and put a spell on your attention in historically unprecedented ways. (“The Social Dilemma” began streaming on Netflix this week.)

The quotes Orlowski begins his wake-up call of a documentary with — and peppers throughout — aren’t easy to top. There’s Sophocles’ “Nothing vast enters the world of mortals without a curse.” And this from sci-fi giant Arthur C. Clarke: “Any sufficiently advanced technology is indistinguishable from magic.” And this wry quip from data-visualization guru Edward Tufte: “There are only two industries that call their customers ‘users’: illegal drugs and software.”

Yet, here’s one to add: “Be afraid. Be very afraid.” It may not be as elegant as the others, but it represents the tone taken by the tech leaders interviewed by the Boulder-based director who investigated the extraordinary problems wrought by big-tech behemoths, particularly the ones that have entangled so many in the vast web of social media: Twitter, Facebook and Google.

Among the documentary’s smart and personable talking heads: Justin Rosenstein, co-inventor of Facebook’s “like” button; Tim Kendall, former president of Pinterest and former Facebook director of monetization; and Shoshana Zuboff, author of “The Age of Surveillance Capitalism.” (That book’s subtitle: “A Fight for a Human Future at the New Frontier of Power.”)

Tristan Harris, a former design ethicist at Google, became notable for writing an early internal and legendary document questioning the addictive tendencies of smartphone tech. Think Jerry Maguire’s manifesto after his dark night of the soul. Harris caused a buzz and then, well, crickets. He went on to co-found the Center for Humane Technology, a non-profit promoting the ethics of consumer tech.

RELATED: Watch this very real Netflix doc about a man who welded himself inside a “killdozer” and destroyed half of Granby

These days, Silicon Valley is referred to in much the way we talk about Hollywood or Washington: It is a global economic force, a wielder of spectacular power, somehow exemplary, too, of some more honorable ideals. Orlowski went to one of its feeder schools.

“I was class of ’06 at Stanford. When we all graduated, that was (around) the birth of the iPhone and the birth of apps. So many of my closest friends went directly to Facebook, Google or Twitter. Multiple friends sold their companies to Twitter for exorbitant amounts of money,” Orlowski said on the phone before his film’s world premiere at January’s Sundance Film Festival.

The project came out of conversations with those friends “who were starting to talk about the problems with the big social media companies back in 2017, at the birth of the tech backlash that we’ve been seeing. Honestly, I’d heard nothing about it, knew nothing about it.”

So many of his creative, thoughtful friends were working in new tech that Orlowski wondered, “How’s it a problem?” A fan of long-form journalism, he set out to answer that question and a few others. “For me, this process was two years of being an investigative journalist. (Of doing) first-hand research with the people who make the technology and trying to understand what the hell is going on.”

Director Jeff Orlowski attends the World Premiere of “The Social Dilemma,” an official selection of the Documentary Premieres program at the 2020 Sundance Film Festival. (Azikiwe Aboagye, provided by the Sundance Institute)

He is not alone in trying to wrap his brain — and ours — around that. Orlowski was among a cluster of storytellers at January’s Sundance Film Festival, posing timely questions about societal costs of seemingly free platforms — quandaries that have been reflected in a deluge of headlines about big tech’s role in our lives, in civil discourse, in democracy. (The film’s final cut includes a few recent images of news footage hinting at the rough tango between our lives and the Twittersphere around COVID-19.)

Two other high-profile projects that should prompt a rethink were Shalini Kantayya’s “Coded Bias,” about the MIT Media Lab, where research uncovered just how racially biased facial recognition software is. It’s a searing yet inspiring look at what happens when the people making tech’s design choices, and building its algorithms, create for people who look exactly like them. Co-directors and Karim Amer and Guvenc Ozel’s vivid virtual-reality living-room installation, “Persuasion Machines,” depicts with its jaw-dropping environment the data-mining excesses of a “smart home.”

There have always been concerns about the amount of private information that customers seem so willing to cede with little regard for security. But social media is proving itself a voracious beast. It’s less about identity theft than the potential for manipulation on a mass scale. Advances in AI and machine learning have added a special — arguably dystopian-courting — wrinkle.

It’s little surprise, then, that Orlowski is asking urgent questions. He’s forged a place in the documentary vanguard. He first made a splash when he trailed environmental photographer James Balog around Greenland, Iceland and Alaska. With stunning images, Balog documented the calving of ice shelves, the receding of glaciers, and Orlowski documented him.

The resultant work, “Chasing Ice” (2012), was gorgeous and chilling — in all the wrong ways. It was a different kind of climate change doc, not a screed but a nature film that made a compelling case that there are seismic — likely irreversible — changes afoot. It won an Emmy. (Traveling through Denver International Airport, you may have stopped to watch Balog’s mesmerizing time-lapse video for his Extreme Ice Survey work.)

Orlowski’s 2017 follow-up, “Chasing Coral,” won an Emmy for Best Nature Documentary.

“This is the beginning of a decade of films about technology and the consequences of technology,” Orlowski said of the company. “There’s so much at risk and so much at scale, the way technology is designed.”

In both “Chasing Ice” and “Chasing Coral,” he worked to make concepts starkly or strikingly visual. He faced a similar challenge with “The Social Dilemma. “We were trying to think of ways to show people what’s happening on the other side of their screens that’s invisible,” he said. “How do you show people something that is literally impossible to see? You can’t see what’s happening on the servers, right? You can’t even see the servers. But how are the algorithms designed and what are they doing that control 3 billion people?”

The number is not far off: According to German data-statistics tracking company Statista, there are currently 3.5 billion smartphone users.

For “The Social Dilemma,” Orlowski weaves a narrative tale about a multiracial family wrestling with the role of tech in their home. Think of it as a dramatization of concerns. The strategy evolved out of his own response to the news he was hearing from his Silicon Valley friends and their worries around the industry’s overreach.

“Because of the way they were describing it, every time I looked at my phone, I kept seeing a manipulative machine on the other side trying to puppeteer me. For the year I was on Facebook, I thought, ‘I’m being used.’ And it gave birth to this narrative storyline we figured out this way to interweave with the documentary.”

As a filmmaker, it was a chance to direct actors. Vincent Kartheiser of “Mad Men” plays the three-yammering embodiments of AI, dialing up the needs, nudging impulses and commanding the attention of Ben. Skyler Gisondo portrays the increasingly distracted high schooler. Helping create this intricate dance between the interviews and narrative was Oscar-winning editor Davis Coombe, a local filmmaking luminary. (He also co-wrote the doc with Orlowski and Vickie Curtis.)

“I really loved doing all that,” said Orlowski. “The writing, the shooting, the directing. All of the narrative stuff was really fun and brought, I hope, a different dimension.”

Ben and his family are intended to represent the ways many of us interact with the technology, not as designers but as Instagrammers and Tweeters, friends and over-sharers, TikTok-ing kids and their aggravated parents.

Of course, recanting can be a tricky thing. We admire people who see the flaws — even corruption — in a system and alert us to the dangers. But we can also be suspicious of their declarations. Indeed, there is an undercurrent of quiet hubris intermixed with the insider cautions of a number of Orlowski’s experts.

An intentionally witty moment comes early in the movie when, after a few of them have reflected on the unintended consequences of tech, and the sense that it was meant to help not harm. Although each had been a chatterbox of insights and perspectives, every one of them grows silent, looking for all the world stumped by the simple question that Orlowski asks: “So what’s the problem?” More than once, an interviewee reminds us that one of the tools to address the hyper-speed amassing of power and profit is rather old-school: regulation.

Even more illuminating than confessing their own addictions to email, or push notifications, or Twitter are the moments when these engineers, software designers, marketing whizzes share their own practices for themselves — or their family’s rules for their children — about social media.

“I’ve uninstalled a ton of apps from my phone that I felt were just wasting of my time … and I’ve turned off notifications,” said Rosenstein.

“Never accept a video recommended to you on YouTube. Always choose. That’s another way to fight,” said Jaron Lanier, one of tech’s most innovative minds turned most trenchant critics.

“We’re zealots about it. Crazy,” said Allen, asked about social media and his children. “We don’t let our kids have really any screen time.”

And perhaps the most timely advice: “Before you share, fact check,” said Renée DiResta, research manager at the Stanford Internet Observatory. “If it seems like something designed to push your emotional buttons, it probably is.”

Subscribe to our weekly newsletter, In The Know, to get entertainment news sent straight to your inbox.

A Boulder filmmaker’s new Netflix documentary will make you want to delete social media forever

#IFTTT #WordPress

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the-once-and-future-dork · 7 years

Text

Figure Drawing Studio reading list

Tag yourself, I’m Nutt, Samantha and my prof self-mentioning 3 separate times

An Atlas of Human Anatomy for the Artist - Steven Rogers Peck

Art Students’ Anatomy - Edmond J Farris

Visualizing Muscles, a new ecorché approach to surface anatomy - John Cody, M.D.

The Geometry of Art and Life - Matila Ghyka

The Power of Limits, Proportional Harmonies in Nature Art and Architecture-Gyorgy Doczi

The Language of the Goddess: Unearthing the Hidden Symbols of Western Civilization. - Gimbutas, M

The Goddess in Every Woman - Jean Shinoda Bolen

Moving Beyond Words - Gloria Steinem

The Beauty Myth - Naomi Wolfe

The Female Brain - Louann Brizendine

The Fragile Species - Thomas, L.

The Hysterical Male, New Feminist Theory - edited by Arthur and Marilouise Kroker

Male Order: Unwrapping Masculinity - Rowena Chapman and Jonathan Rutherford

The Masculine Masquerade: Masculinity and Representation - edited by Andrew Perchuk and Helaine Posner

Beyond Patriarchy, essays by men on pleasure, power and change - edited by Michael Kaufman

Constructing Masculinity - edited by Maurice Berger, Brian Wallis, Simon Watson.

Ecofeminism - Maria Mies and Vandana Shiva

Global Gender Issues - Spike Peterson and Anne Sisson Runyon

Gender at the Crossroads of Knowledge, Feminist anthropology in the post modern era - edited by Micaela di Leonardo

Gender, Development and Globalization- economics as if all people mattered-Lourdes Beneria

Paradigm Wars: Indigenous Peoples’Resistance to Glogalization - Jerry Mander and Victoria Tauli-Corpuz,

Engenderings, Constructions of knowledge, authority and privilege - Naomi Scheman

Sign, Image, Symbol. - Kepes, Gyorgy

Mining the Media Archive ; Essays on Art, Technology, and Cultural Resistance - Dot Tuer

Inside the Neolithic Mind. Consciousness, Cosmos and the Realm of the Gods-by David Lewis-Williams and David Pearce

The Origin of Consciousness and the Breakdown of the Bicameral Mind - Julian Jaynes

Memories Dreams Reflections - Carl G. Jung

Man and his Symbols - Carl G. Jung

The Hero with a Thousand Faces - Joseph Campbell

The Inner Reaches of Outer Space: Metaphor as Myth and Religion - Joseph Campbell

The Transformation of Myth through Time - Joseph Campbell

Myths to Live By - Joseph Campbell

The Power of Myth ( available in video and dvd) - Joseph Campbell in conversation with Bill Moyers

Myths Dreams and Religions - Edited by Joseph Campbell

Overlay: Contemporary Art and the Art of Prehistory. - Lippard, Lucy

Decolonizing Methodologies - Linda Tuhiwai Smith

Violence and Resistance in the Americas : The Legacy of Conquest - Michael Taussig

The Shock Doctrine - Naomi Klein

No Logo: Taking Aim at the Brand Bullies. - Klein, Naomi

Guns, Germs, and Steel: The Fates of Human Societies. - Diamond, Jared M.

Damned Nations: Greed, Guns, Armies, and Aid - Nutt, Samantha

The World Without Us - Alan Weisman

For an An Amerindian Autohistory - George E. Sioui

God is Red, A Native view of Religion - Vine Deloria Jr

Custer Died for your Sins, An Indian Manifesto - Vine Deloria Jr

For this Land, Writings on religion in America - Vine Deloria Jr

Reclaiming indigenous Voice and Vision - Marie Battiste

Winona LaDuke Reader - Winona La Duke

Lighting the Eighth Fire - Leanne Simpson, editor

Land Spirit Power, First Nations at the National Gallery of Canada - Diana Nemiroff, Robert Houle, Charlotte Townsend-Gault

Race identity and Representation in Education - Edited by Cameron McCarthy and Warren Crichlow

The Drawings and Paintings of Daphne Odjig: A Retrospective Exhibition - curated by Bonnie Devine with additional texts by Robert Houle and Duke Redbird

Nobuo Kubota, Hokusai Revisited ,curated by Diane Pugen - Exhibition catalogue with texts by Diane Pugen and Terrence Heath

Stories from the Shield, The work of Bonnie Devine. Curated by Diane Pugen- Exhibition Catalogue;, Essays by Robert Houle and Diane Pugen

Norval Morrisseau, Shaman Artist - Curated by Greg A. Hill with additional texts by Ruth B Phillips and Armand Garnet Ruffo

Diane Pugen: Drawings and Installations catalogue, Visual Arts Centre of Clarington - Maralynn Cherry, editor, , Bowmanville, On

REQUIRED DVD VIEWINGS (who the fuck needs this?)

The Hero’s Journey

The Life and Work of Joseph Campbell

Mystic Fire Video 60 minutes

Carl Jung: the Inheritance of Dreams Series of 3 The life and work and import of Carl Jung

The Wisdom of the Dream, Part 2 of 3 screened in class

Taking Root: The Vision of Wangari Maathai

Muffins for Granny

#school crap #funny

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toldnews-blog · 5 years

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New Post has been published on https://toldnews.com/world/united-states-of-america/chabad-of-poway-spain-game-of-thrones-your-monday-briefing/

Chabad of Poway, Spain, ‘Game of Thrones’: Your Monday Briefing

(Want to get this briefing by email? Here’s the sign-up.)

Good morning,

We’re covering Attorney General William Barr’s dispute with congressional Democrats, the aftermath of the shooting at a California synagogue, and the results of Spain’s election.

Attorney general threatens not to testify

William Barr is scheduled to appear before the House Judiciary Committee on Thursday to discuss the special counsel’s report, but he has said he will skip the session if the terms of the questioning aren’t changed.

Such a move would escalate the long-running feud between the White House and Congress over testimony and access to documents. The Democratic chairman of the committee, Representative Jerrold Nadler, said on Sunday that he would subpoena Mr. Barr if necessary.

The details: In addition to the usual questioning from lawmakers, Democrats want the attorney general to take questions from staff lawyers. Mr. Barr objects to that format, as well as to a plan for committee members to question him behind closed doors about redacted sections of the special counsel’s report.

What’s next: Negotiations are to continue today. Mr. Barr is set to testify before the Republican-led Senate Judiciary Committee the day before his scheduled House appearance.

The police identified the attacker in Saturday’s shooting at the synagogue, Chabad of Poway, as John Earnest, 19. They said he had written a manifesto echoing the white supremacist views promoted by gunmen who attacked a synagogue in Pittsburgh last year and mosques in Christchurch, New Zealand, in March.

Quotable: “We can disagree about all sorts of important things, even ultimate things, but surely every person ought to agree that no one should be gunned down in worship,” said Russell Moore, the president of the Ethics and Religious Liberty Commission of the Southern Baptist Convention.

Unheeded warnings in Sri Lanka

A newly revealed memo, dated 12 days before a series of suicide bombings on Easter Sunday, warned the country’s police chief of an imminent terrorist attack.

The memo adds to a growing paper trail of detailed warnings that cast doubt on President Maithripala Sirisena’s claims that he did not know the attack was coming.

The Islamic State has claimed responsibility for the attack, and, since the bombings, anti-Muslim feeling has been rising across Sri Lanka. Today, Mr. Sirisena banned “all forms of clothing that cover a person’s face and prevents them from being identified.”

Catch up: The Islamic State said its fighters were among those killed in a raid in eastern Sri Lanka that left 15 dead and that wounded the wife and child of Zaharan Hashim, who is believed to have been behind the bombings.

Life inside Alabama’s prisons

The Alabama Department of Corrections is set to unveil a plan to improve its prison system, which was the subject of a horrifying report issued by the Department of Justice this month.

The report included accounts of prisoners who were tortured, burned, raped and murdered in largely unsupervised dorms. Three corrections officers have been attacked and at least one inmate has been stabbed since the report was issued.

The Times asked three men sentenced to life without parole and one serving a 28-year sentence to tell us what it’s like inside. Read excerpts from their letters.

Background: The report underscored the conditions depicted in more than 2,000 photographs, sent to The Times, of violent incidents and contraband inside the St. Clair Correctional Facility, northeast of Birmingham.

If you have 5 minutes, this is worth it

Grandmothers learning to read

As the birthrate plummets in South Korea, rural schools are emptying. One welcomed women who have wanted to learn to read for decades.

Hwang Wol-geum, 70, cried tears of joy when she started classes last month: “I couldn’t believe this was actually happening to me,” she said. “Carrying a school bag has always been my dream.” Ms. Hwang, above left, is pictured with her classmates Kim Mae-ye, 64, and Park Jong-sim, 75.

Here’s what else is happening

Election in Spain: The Socialist Party has strengthened its hold on the country’s government after the third national election since 2015. An anti-immigration and ultranationalist party called Vox won its first seats in Parliament.

Ouster at Guantánamo: Rear Adm. John Ring, the commander of the U.S. prison at Guantánamo Bay, Cuba, has been fired seven weeks before he was to leave the job.

Seattle crane crash: The tech boom has filled the city with construction cranes, one of which collapsed over the weekend, killing four people.

Snapshot: Above, hazelnuts drying in northern Turkey, which grows about 70 percent of the world’s supply. They end up in Nutella spread and candy made by Nestlé and Godiva, but the crop has been notorious for its workplace hazards and hardships.

In memoriam: Richard Lugar represented Indiana in the Senate for 36 years, one of few senators in modern history with substantial influence on America’s international relations. He died on Sunday at 87.

“Game of Thrones”: The Battle of Winterfell. That’s all we’ll say here. Read our recap of Episode 3.

What we’re reading: This article in The Colorado Sun. Gina Lamb, a Special Sections editor, writes: “As a longtime typewriter owner (and former Colorado resident), I was delighted by this piece about Darwin Raymond, who has cared for all kinds of typewriters on the state’s Western Slope for decades — including a 60-pounder with a three-foot-long carriage, a purse-size portable and an IBM Selectric that Hunter S. Thompson blew apart with a shotgun.”

Now, a break from the news

Listen: For some time, Bruce Springsteen has been mentioning an album that harks back to 1970s Southern California. “Hello Sunshine” is the first sample of that album.

Smarter Living: If buying a used car makes you want to pull your hair out, you’re not alone. There are a few key things to remember. Know what you need, not what you want. Review whether leasing or financing makes sense for you. Lastly, know the difference between a certified pre-owned car and a lemon.

And if you find a lost phone, return it the right way.

And now for the Back Story on …

Dance history

If you’re feeling footloose today, there may be a reason: April 29 is International Dance Day, so proclaimed by the performing arts partner of Unesco 37 years ago.

Why this date? It’s the birthday of Jean-Georges Noverre (1727-1810), a choreographer and dance theorist who invented the “ballet d’action,” a forerunner of the evening-length story ballet. (Think “Swan Lake” and “Giselle.”)

Before Noverre, ballets amounted to spectacular entertainments. He revolutionized the art by introducing pantomime and the idea that a dance could tell stories.

Early in his career, Noverre also had the distinction of serving as dancing instructor to the young Archduchess Marie Antoinette in Vienna, before her departure for France.

According to Antonia Fraser, whose biography of Marie Antoinette became the basis of Sofia Coppola’s 2006 biopic, the future queen was an apt pupil, admired for her graceful port de bras and elegant bearing.

Her friendship with Noverre helped his career, until the French Revolution. He escaped the guillotine and lived until 1810 in the Paris suburb of St.-Germain-en-Laye.

That’s it for this briefing. See you next time.

— Chris

Thank you To Mark Josephson, Eleanor Stanford and Kenneth R. Rosen for the break from the news. Marina Harss, who writes about dance for The Times, wrote today’s Back Story. You can reach the team at [email protected].

P.S. • We’re listening to “The Daily.” Today’s episode is about the census case before the Supreme Court. • Here’s today’s mini crossword puzzle, and a clue: Butterfingers (5 letters). You can find all our puzzles here. • Both Arthur O. Sulzberger, the chairman of the board and former publisher of The New York Times, and A.G. Sulzberger, the current publisher, worked as reporters and editors at The Times early in their careers.

#3m usa news #76ers usa news #us news law school rankings 2020 #usa news march 2019 #usa news mark zuckerberg #wusa news

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not-poignant · 7 years

Note

Tumblr is full of writing tips posts. What is the most stupid and horribly wrong writing tip you've seen here? That possibly made you go 'ffc no, you should never do THAT'

Honestly I see so many horrible fucking writing tips that I often don’t know where to start.

But there’s one I see a lot which has persisted over the years on Tumblr, and would have like...genuine writing teachers responding like this:

And that’s any writing advice that suggests about four million other words you should use in place of the miraculous word said.

There was this trend (it’s thankfully on its way out) of posts that got absurdly Thesaurus happy to suggest a billion other words you could use in place of ‘said’ as though you were in a Sir Arthur Conan Doyle story where characters would ‘ejaculate’ instead of speaking (yes really: ‘I can’t believe it!’ he ejaculated.)

Said is a marvellous word. It’s really an incredible, wonderful word.

The rule for using words like ‘whispered’ or ‘taunted’ or whatever is (and this is not universal): if you can tell what the character is doing from the dialogue alone - use said. If there is no way you can tell tone from the dialogue, consider using something other than said to indicate tone. If you always have to use something else, your dialogue is probably not very good. And if you constantly use a word other than said because of I don’t know...personal vanity or whatever - that’s awesome man I can be guilty of it too, but sometimes it really means that you’re telling your reader the same thing multiple times in different ways and it can get jarring.

Said is a nice, invisible word. It’s mostly just letting people know who is character A and who is character B and who is speaking when. That’s all its for. Invisible words are great in writing! Why? Because they aid reading flow. The invisible words get your reader’s eye to the most important parts of your story.

Dean Koontz used to do this thing where he did great streams of dialogue and omitted all markers of who was speaking. Almost no one liked it, and almost everyone got confused by it. But it was a personal habit of his and he did it for about a decade before he was like ‘wait people really don’t like this‘ (to be fair he could do it for like three solid pages, like seriously imagine this:)

‘I don’t know’‘What don’t you know’ ‘I’m just saying this horrible thing we’re dealing with...’‘Yeah maybe we could do this to fight it’

FOR THREE PAGES IT GETS CONFUSING. (In short sections it can work). Sometimes how your character talks is not enough to get you through that clusterfuck. Enter the miraculous word ‘said,’ with a name or pronoun in front of it, that just acts as a gentle map for the reader, that goes ‘hey maybe you’re not reading this like it’s an examination for university, and to help you not get lost, here are some words you hardly have to notice to make sure you’re still involved in this story.’

Dean Koontz doesn’t really do this anymore, lol.

Anyway, honestly, I am kind of...against universal writing tips anyway, so any time I see a writing tip post on Tumblr, 9/10 I am usually doing this in response:

And it’s sort of... it’s a few things:

- I think a lot of these posts are written by highschoolers or first year university students who are sort of processing some basic writing rules (that in no way apply universally, culturally or even geographically to all - seriously if an American incorrectly ‘corrects’ my Australian grammar one more time I will reach through the internet and throttle them, we don’t use double quotation marks for our dialogue!) and do that by sort of regurgitating them with their own take and applying them to everyone. It’s awesome they’re learning, but you’re not in their class, and they are not your teacher. A lot of these articles are like post-educational-processing and not actually genuinely helpful writing advice.

- The universality of these tips tends to annoy me. It’s one thing to suggest that most fics on AO3 should have paragraph breaks - that’s basic functionality and accessibility, in the same way that it’s basic to put spaces between words. But it’s quite another to suggest that passive tense is always evil or adverbs are the devil. It’s simply not true. Fucking Pulitzer Prize winners have used both, lol. And they didn’t win in spite of doing these things. It’s one thing to say ‘it can be lazy to rely on this too much’ it’s another thing to say ‘no adverbs! Ever!’

- Sometimes it’s really really really easy to tell when someone has picked up Stephen King’s writing book. Also that book is super fucking ableist. Like most writing books, it’s centred in a whole lot of privilege. Also Chuck Palahniuk’s writing manifesto doesn’t apply to 98% of writers but thumbs up if you’re in the two percent.

- ‘How to write’ is an intensely personal process. Writing tips are like...idk, good to read, but in a light-hearted way. Sample often, discard just as often. Try before you buy (into it). Always think ‘do I know authors who have broken this rule and did I still find them entertaining?’ Almost always the answer is ‘yes.’

- I know a lot of professional writers and editors. Like, that’s my main ‘crew’ online (and in real life, even though I hardly ever see them, but if I see more than four people at once, it’s generally some of the big writing names in Perth and we’re usually bitching about something like how many small publishers can’t stand up to Amazon and not how that one author always uses ‘said’ too much pfft). On Twitter. On Facebook. On Dreamwidth. All I hear about every day is people dropping new books, getting nominated for awards etc. and here’s the thing about professional writers - they rarely share the same kind of writing tips you find on Tumblr, because they’ve learned that a lot of that stuff isn’t universal.

Most of us are tired of Tumblr articles on how to write (don’t get me wrong, some of them are very very good, and Neil Gaiman has given lovely advice on Tumblr repeatedly - I don’t actually love his writing, but good god, I love him as a giver of writing advice lol since he’s not a homogenising dickbrain about it), most of us are tired of the grammar police, etc.

Anyway I do get impatient about it and it’s one of the few areas - there’s a reason why my ‘on writing’ / ‘pia on writing’ tag tends to feature very specific sorts of writing advice - i.e. focused on encouragement and motivation, over people saying ‘this thing should be universal’ when no, actually, it shouldn’t be.

And my way isn’t the right way either? And that’s why I don’t often share writing tips (though I think I could stand to do it more sometimes, maybe some people want to actually learn to write like me; I don’t recommend it personally lol). Like I break rules because I like the outcome, especially around length and passive tense and long scenes without ‘scene breaks’ and so on. But theoretically Cecilia Dart-Thornton’s The Bitterbynde Trilogy would be trash by some of these writing articles standards and it’s honestly one of the most sumptuous epic fantasy trilogies of all time and the purple prose works and it deserved the awards it won.

So imho, honestly, a lot of those articles can bite me, lol. But especially the ones where people are like ‘hey, have you considered not using ‘said’ and making everything 400 times harder for your reader, just to prove you can use a thesaurus???’

(PS: I talked to Glen about this, who is also a writer (and scriptwriter) and the thing he says he hates the most is: ‘write what you know.’ Totally feel that too.)

#asks and answers #pia on writing #on writing #gif post #mostly i think 'don't be a homogenising dickbrain' about writing #you see a lot of newbie 'editors' on tumblr #trying this out via writing tips #but what they're really trying to do #is make people write in a way *they like to read*#and it's one of the 101 failings of newbie editors #and all of us newbie editors have been there at some point #okay not all of us #just some of us #also i know a lot of writers #we bitch about bad writing advice #way more than we actually bitch about the things #these writing advice articles cover lol #sometimes we mockingly say #'oh such and such don't know you passive tense is *evil*??'#followed by laughter #which doesn't prove anything #except that we're dorks #also please don't judge these people by my writing #they are all way better and way more successful than i am #lol i'm mostly highly regarded there because of my art go figure #Anonymous

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chickpeatalia · 3 years

Text

when i drop my working class!arthur manifesto, then you will REALISE

#hhhhhhhhhhhh i just have A LOT of THOUGHTS on this #actually its probably better that no one asks me about this cuz it would inevitably end up opening pandoras box yknow what i mean #anyway......... nevermind me and my silly little thoughts on a british anime man

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milona · 4 years

Video

vimeo

DJ Food 'O Is For Orange' (version 2) from Solid Steel on Vimeo.

'O Is For Orange' came about because of the set I made for ‘A Few Old Tunes’, the Boards of Canada-inspired night we did on June 20th in London. Because I’d edited so much video to go with it, I thought I’d finally get round to my first solo video mix too so here it is.

This is a second version because the first got taken down because of a copyright violation notice from someone. I've now re-edited the footage and taken out the offending item as well as upped the quality of the encode.

‘O Is For Orange’ is the sound of weathered tape saturation, detuned analogue synthesisers, vinyl crackle and machine hum. It’s also the look of unfocused, flickering lenses, mirror image filters and blurry grain embedded into film. Unofficial fan films sit alongside experimental animation, public information shorts and even the odd official video. Material that BoC took inspiration from blends with their own work as well as many that they inspired.

I make no apologies for the quality of the vision here, some of it is only available via the web at frustratingly small sizes. In a couple of instances I’ve actually downgraded the look and quality of the image to make it blend in better and in others, even my best attempts at filtering can’t disguise the low quality of the source material. No HD or widescreen here, I’ve gone back to 4:3 for this one even though some of the clips were originally 16:9 or wider.

Tracklist: Sesame Street - Oh! Orange (Sesame Workshop)

Galt MacDermot - Aquarius (RCA Victor) Video: 'Conquest of Light' - dir. Paul Cohen, 'Mars & Beyond' - dir. Ward Kimball, 'Time Magazine' advert, excerpt from 'Thunderbolt' - dir. Ira Cohen

Boards of Canada - The Colour of the Fire (Warp) Video: Sesame Street 'I Love You'

Broadcast & The Focus Group - The Be Colony (Warp) Video: 'Witch Cults' #1 & 2, - both dir. Julian House

Yosi Horikawa - Wandering (First Word) Video: Yeasayer 'Henrietta' - dir. unknown

Prefuse 73 feat. School of Seven Bells - The Class of 73 (Warp) Video: Official - dir. Chris Boyle (Warp Films)

Mordy Laye & The Group Modular - Electric Paint (Audio Montage) Video: Official - dir. PlanktON

Boards of Canada - Everything You Do Is A Balloon (Skam) Video: unofficial - dir. Nonameno5, sampled from "One Got Fat" (1963)

John Abercrombie - Timeless (ECM) Video: 'As The Crow Flies' - dir. Funki Porcini, AT&T documentaries Delia Derbyshire and Barry Bermange - The Dreams: Land (BBC)

The Books - Group Autogenics I (Temporary Residence) Video: 'Terminal Self' - dir. John Whitney Jr.

Two Quiet Suns - Light Curve (Bandcamp) Video: Yeasayer 'Fingers Never Bleed' - dir. unknown

DJ Food - Sunspot (no label) Video: Official - dir. DJ Food & Tom Clarkson

Lost Idol - Beesmouth (Cookshop) Video: excerpt from 'The Public Voice' - dir. Lejf Marcussen

Boards of Canada - A Beautiful Place Out In The Country (Warp) Video: Unofficial - dir. Neil Krug

Meat Beat Manifesto - Prime Audio Soup (Boards of Canada remix) (PIAS) Video: 'Series 4' - dir. Normand Grégoire (Nation Film Board of Canada)

Autechre - Teartear (Warp) Video: 'Beyond The Black Rainbow' - dir. Panos Comastos, Aldo Aréchar 'That Will Be The Day' - dir. Matthew Divito

The Human League - Being Boiled (Fast) Video: Unofficial live TV appearance remixed by DJ Food

Wagon Christ - Chunkothy (Ninja Tune) Video: Official - dir. Celyn Brazier

Boards of Canada - Satellite Anthem Icarus (Warp) Video: Unofficial - dir. Videomarsh

Boards of Canada - Music Is Math (Warp) Video: Unofficial - dir. unknown

Slag Boom Van Loon - Poppy Seed (Boards of Canada remix) (Planet Mu) Video: 'Rendezvous with Rama' Arthur C. Clarke 3D footage

Boards of Canada - Olson(Midland re-edit) (mp3) Video: 'Hello Machine' - dir. Carroll Ballard

Delia Derbyshire and Barry Bermange - The Dreams: Colour (BBC) Sesame Street - A Lot of Me (Sesame Workshop)

0 notes

gyrlversion · 5 years

Text

How mosque terror attack nightmare unfolded in 17 horrific minutes

Amid the carnage in New Zealand, a young hero who tackled the gunman may have saved lives by wresting away his rifle.

Syed Mazharuddin said the unidentified youngster leapt into action as the terrorist fired wildly at worshippers at the Linwood Avenue Mosque in Christchurch, killing eight.

‘He saw an opportunity and pounced and took his gun,’ Mr Mazharuddin said last night. He said the hero tried to turn the gun on the killer but was unable to make it fire.

The gunman used two semi-automatic guns, two shotguns and a lever action firearm on worshippers at a New Zealand mosque on Friday and live streamed the attack online

It was last night unclear whether Brenton Tarrant, who killed 41 in an earlier attack on the Masjid Al Noor Mosque, was also the Linwood Avenue gunman.

His warped followers were able to watch the Al Noor massacre live via his head-mounted camera.

‘Nice shootin Tex’, remarked one anonymous online viewer.

The 28-year-old Australian livestreamed his atrocity for 17 minutes, letting Facebook users see his terrified victims in their final moments.

In one appalling scene, a dazed survivor manages to pull himself clear of a pile of dead bodies only for Tarrant to march up and shoot him in the head.

The self-proclaimed racist – who was given a gun licence in 2017 – switched on his Go-Pro headcam around 1.40pm local time, ten minutes after he had boasted on a lawless website known as 8chan: ‘I will attack against the invaders, and will even livestream the attack via Facebook.’

Approving users immediately responded with Nazi images and one wrote: ‘This sounds fun.’

Tarrant’s horror video begins with him driving to the Al Noor mosque with a fearsome array of weaponry arranged neatly in the passenger footwell.

Turning the camera briefly on himself, he declares: ‘Let’s get this party started.’

Tarrant’s satnav device can be heard chirping instructions as he draws closer to the mosque.

In his manifesto, Tarrant (pictured) described himself as an ‘ordinary, white man’, who was born into a working class, low income family of Scottish, Irish and English decent. He is pictured in the sickening video of his attack, left, and right in an image that a Pakistani hotel manager posted on Facebook, claiming it showed Tarrant visiting the Middle Eastern nation

Witnesses reported hearing dozens of shots at Al Noor Mosque in Christchurch on the country’s South Island. Pictured is a still from a live-stream of the shooting

The New Zealand Prime Minister Jacinda Ardern has vowed to toughen up the county’s gun laws after the gunman acquired five weapons – two semi-automatic guns, two shot guns and a lever action firearm – legally. Pictured is one of the weapons used in the shooting

The car stereo is playing a tune later identified as a Serbian hate anthem called ‘Remove Kebab’. As Tarrant turns into an alley by the mosque, a pedestrian steps out in front of him and the killer politely lets him cross the road.

The act of kindness contrasts horribly with what happens next.

Clad in military-style body armour, Tarrant has brought at least six weapons, including two assault rifles with red dot sights, a 12-bore semi-automatic shotgun and a short-barrelled pump-action shotgun. Brandishing a rifle, he strolls up to the mosque entrance where someone can be heard welcoming him by saying: ‘Hello brother.’

Tarrant takes aim at a figure inside then fires nine times in quick succession. Then he throws down his gun and produces a rifle with a flashing strobe light – designed to disorientate his targets – as he walks past his first victim on the floor.

Another man crawling along the corridor is shot, and Tarrant storms into the main prayer room. His rifle – emblazoned with the words ‘kebab remover’ – shudders with every shot as he peppers worshippers with bullets.

A man wearing military fatigues (pictured) was arrested outside Papanui High School on Friday

At least one gunman opened fire at a mosque in New Zealand , shooting at worshippers and killing dozens of people. Pictured: A wounded man is helped from the scene

No one stands a chance as his gun, apparently enhanced with a ‘bump stock’ to aid rapid firing, sprays bullets into pathetic figures huddled in opposite corners.

The terrorist repeatedly runs out of ammunition and reloads. On one of his magazines, he has written ‘For Rotherham’, in reference to the child abuse scandal perpetrated by British Pakistani men.

As the wounded groan in agony, a worshipper rushes forward – either attempting escape or to tackle the gunman – but he is cut down by a hail of bullets.

Several times Tarrant stands over wounded figures, calmly reloading his gun, then shooting multiple times to execute those playing dead. The framing of the video, which shows only the gunman’s hands holding the rifle, is chillingly similar in style to video games such as Call Of Duty.

Ramzan Ali lay among the bodies, still alive. He recalled: ‘I waited and prayed, ‘Oh God, please let this guy run out of bullets.’

New Zealand’s Prime Minister Jacinda Ardern said at a press conference today that the country will strengthen its gun laws in the wake of the Christchurch massacre in which 49 people were killed at a mosque in Christchurch

Tarrant left the room, and Mr Ali decided to flee. He said: ‘The guy sitting beside me told me, ‘No, no!’ Next thing, the shooter came back and shot this guy who told me not to get up. He shot him right in the chest. The blood was splashing on me, and I was thinking, ‘Oh my God, oh my God, this is going to happen to me now.’

‘I was just thinking, ‘If I get up, I’ll get shot,’ so I was keeping my fingers crossed.’

Mahmood Nazeer said: ‘I was just praying to God and hoping our God, please, let this guy stop. The firing went on and on.’ Anwar Alsaleh hid in a bathroom and heard the gunman shout: ‘We’re going to kill you today.’

Ahmad Al Mahmoud escaped by smashing through a glass door. He said: ‘He had a big gun. He came and started shooting everyone in the mosque, everywhere.’

How did they miss him?

New Zealand’s intelligence agencies were last night facing serious questions over how they failed to stop the white supremacist terrorist.

Brenton Tarrant posted pictures of the murder weapons online two days before the rampage.

He published photographs of his semi-automatic rifle on Twitter, and shared photos of military-style equipment on his now-removed social media account.

It was claimed he also posted his intentions and the location of the attacks 12 minutes prior to it.

Three people were in custody, including Tarrant, last night.

But New Zealand’s prime minister Jacinda Ardern admitted they were not on a security watch list.

She said she would ‘absolutely’ be raising questions as to why Tarrant wasn’t known to officials.

Khaled Al Nobani managed to flee with some children, while Shoaib Gani said: ‘I could see people getting shot around me and I was just praying, thinking about my family – them hearing the news that I’m dead. I just dropped to the floor hoping the bullet doesn’t hit me. I tried to hide under the table and then called home.

‘I thought I should talk to them one more time before I die because I could see that coming – I could see that everybody around me is dying. It was ringing, it was ringing, it was ringing, but nobody picked up.’ He added: ‘I could see women crying, children crying – children shot dead.’

Tarrant returns to his car, which was still blaring out music, this time a Waffen SS choir remix.

He is seen throwing his rifle to the ground and picking up one with a larger scope from the Subaru’s boot. Muttering ‘son of a bitch’, he runs back inside the mosque shouting: ‘We’re not going to get the badge today boys.’

At least two dozen bloodsoaked victims are strewn across the prayer room, but twisted Tarrant wants to make sure they are dead.

He starts shooting people in the head, including one man who had managed to lift himself to a sitting position. Seemingly satisfied everyone has been killed, he sprints outside and shoots a woman on the pavement.

She lies face down, begging ‘help me, help me’. Tarrant calmly leans over her and shoots her twice in the head. Then he returns to his car and drives off, over her body.

As the song Fire by British rock band The Crazy World Of Arthur Brown blasts from the speakers – the singer bellowing ‘I am the god of hellfire’ – Tarrant roars off, laughing as he resets his satnav.

Driving like a madman through the streets of Christchurch, he blasts a shotgun to ‘open’ a side window and takes pot shots at passers-by.

Addressing his Facebook watchers about the slaughter, he says he was ‘too quick … I should have stayed longer’, expresses regret for not ‘burning that f****** mosque to the ground’, and says: ‘There wasn’t even time to aim there were so many targets.’ As his video draws to a close, Tarrant’s car is held up in traffic. Through the shattered passenger window, he calmly says ‘Hi’ to the driver on his left.

Back at the Masjid Al Noor Mosque, 41 people lay dead and shell-shocked survivors were assembling on the lawn outside. One man was wailing: ‘My wife is dead.’ Idris Khairuddin, 14, said: ‘I am still shaking, and I am traumatised.’

Nour Tavis said one of his friends lost his wife during the terror attack. He added: ‘When she heard the noise she wanted to go and make sure her husband was safe. She got the bullet, her husband got away. She was gone, she was no more.’

Police later made four arrests and charged Tarrant with murder. One man, who had been armed, was later freed without charge after it emerged he was trying to help police.

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n-o-w-is-l-a-t-e-r · 5 years

Text

Open Syllabus Pt.1

The Artist as Therapist

by Arthur Robbins (1987)

Urban interstices: the aesthetics and the politics of the in-between by Mubi Brighenti, Andrea (2013)

Radical sociology

by Colfax, J. David Roach, Jack L

(1971)

The chair: rethinking culture, body, and design

by Cranz, Galen

1998, 1st ed.

Everything in Everything: Anaxagoras's metaphysics

by Marmodoro, Anna

2017

New Mind, New Body: Bio-feedback: New Directions for the Mind

by Brown, Barbara B

A Cass Canfield book, 1974, 1st ed

Perspective as Symbolic Form

by Panofsky, Erwin

1991, 1st ed.

Bound to appear: art, slavery, and the site of blackness in multicultural America

by Copeland, Huey

2013

Funk the erotic: Transaesthetics and Afro Sexual Cultures

by Horton-Stallings, LaMonda

The new Black studies series, 2015

Beyond Zuccotti Park: freedom of assembly and the occupation of public space

by Shiffman, Ron

2012, 1st ed.

Dead cities, and other tales

by Davis, Mike

2002

Ecology of fear: Los Angeles and the imagination of disaster

by Davis, Mike

1998, 1st ed.

Consumer Ideology and the Violent Subject: The Murderous Consequences of 1980s Advertising in Bret Easton Ellis's American Psycho

by Szetela, Adam

Ethos: A Digital Review of Arts, Humanities and Public Ethics, 04/2014, Volume 1, Issue 1

Visual Poetics, Intertextuality, and the Transfiguration of Ideology: An "Eye" for an "I" in Mary Harron's Cinematic Adaptation of Bret Easton Ellis American Psycho

Bret Easton Ellis: American psycho, Glamorama, Lunar Park

by Mandel, Naomi

Continuum studies in contemporary North American fiction, 2011

Beyond Zuccotti Park: freedom of assembly and the occupation of public space

by Shiffman, Ron

2012, 1st ed.

Late Victorian holocausts: El Niño famines and the making of the third world

by Davis, Mike

2001

Prisoners of the American dream: politics and economy in the history of the US working class

by Davis, Mike

1986

The corporate planet: ecology and politics in the age of globalization

by Karliner, Joshua

1997

Sound unseen: acousmatic sound in theory and practice

by Kane, Brian

2014

(Per)versions of love and hate

by Salecl, Renata

Wo es war, 1998

Hacker Manifesto

by Wark, McKenzie

2004

Systems we have loved: conceptual art, affect, and the antihumanist turn

by Meltzer, Eve

2013

Adorno: The stars down to earth and other essays on the irrational in culture

by Adorno, Theodor W Crook, Stephen

1994

The sound of culture: diaspora and black technopoetics

by Chude-Sokei, Louis Onuorah

2016

Sacred art of the earth: ancient and contemporary earthworks

by Korp, Maureen

1997

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