Kath Blair's Public Library

06 May 09

Support Staff - Career Opportunities - Human Resources - Mount Royal College

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ayout and design of print publications and special projects
acquire knowledge
4 more annotations...
- that they be met
- ability to navigate in new software quickly and accurately
- ncouraged to use initiative to develop solutions to problems or to suggest procedures
- Assists External Relations with photo development and selection for Calenda

23 Apr 09

Mall Directory » Sounds of Science, Sounds of Sales, Sounds of Skills

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power in the music in the malls
other methods for advertising have been set,
8 more annotations...
- Abercrombie and Fitch also has their own radio station which, in addition to being heard constantly in-store, can be streamed online as well and thereby allows the consumer to directly connect the music with their brand.
- provide us with concepts related to consumerism;
- subconscious mind by means of reactions
- Second Hand Story transformed the gallery from a usually quiet and reflective interior space into booming and more upbeat experience
- imilar to the mall study, one could find that the tempo and presence of music provided a more positive gallery experience, using the music to boost energy and drive to move through the gallery and view more works.
- In this sense, like the malls, Akhavan creates a false atmosphere designed to ‘beautify’ the surroundings, but he takes it further to comment critically on both urban issues and human belief systems.
- These are two local examples of artists using sounds to heighten experience, but significantly they both build off of viewer’s instinctual reactions, such as to become more energized with the rhythmic music of the ‘protest’ or to look up and see the ‘birds’.
- If additional studies are to be conducted, information gained could enable both groups to further interact with patrons and viewers on deeper and more reactionary levels. While this might be deemed as slyer marketing strategies, it would allow artists an avenue to connect with viewers beyond current visual and sound representations, and into a deeper realm of subconscious responses.

26 Feb 09

Introduction to Julia Kristeva, Module on the Abject

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It is neither object nor subject; the abject is situated, rather,
at a place before we entered into the symbolic
order.
The abject thus at once represents the threat that meaning is breaking
down and constitutes our reaction to such a breakdown: a reestablishment
of our "primal repression."
7 more annotations...
- The abject has to do with "what
  disturbs identity, system, order. What does not respect borders, positions,
  rules" (Powers
  4) and, so, can also include crimes like Auschwitz. Such crimes
  are abject precisely because they draw attention to the "fragility
  of the law" (Powers
  4).
- Kristeva associates the
  abject with the eruption of the
  Real into our lives. In particular, she associates such a response
  with our rejection of death's insistent materiality. Our reaction to
  such abject material re-charges what is essentially a pre-lingual response.
  Kristeva therefore is quite careful to differentiate knowledge
  of death or the meaning of death (both of which can exist within
  the symbolic
  order) from the traumatic experience of being actually confronted
  with the sort of materiality that traumatically shows you your
  own death:
- It is death infecting life. Abject
- the fear caused by the breakdown of any distinction between
  subject and object, of any distinction between ourselves and the world
  of dead material objects.
- One does not know it, one does not desire it, one joys in it [on
  en jouit]. Violently and painfully. A passion"
- is that we are, despite everything, continually and
  repetitively drawn to the abject
- explores the place of the
  abject, a place where boundaries begin to breakdown, where we are confronted
  with an archaic space before such linguistic binaries as self/other
  or subject/object. The transcendent or sublime, for Kristeva, is really
  our effort to cover over the breakdowns (and subsequent reassertion
  of boundaries) associated with the abject; and literature is the privileged
  space for both the sublime and abject: "On close inspection, all
  literature is probably a version of the apocalypse that seems to me
  rooted, no matter what its sociohistorical conditions might be, on the
  fragile border (borderline cases) where identities (subject/object,
  etc.) do not exist or only barely so—double, fuzzy, heterogeneous,
  animal, metamorphosed, altered, abject"

19 Feb 09

Tutorial 1: Playing a QuickTime Movie

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410

13 Feb 09

Minuteman Press : Welcome

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ColourTime: Request A Quote

asked for a quote by phone feb 13 '09 for grad show

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grad show cataglog

03 Dec 08

Why am I Afraid of Huang Yong Ping?

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480

The relationship that I have entertained with Huang Yong Ping’s work over the last decade seems to follow such a nonpattern. I would even say, at the risk of troubling the artist, that from the get-go nothing was in place for the two of us to meet. I write this not with the intent to criticize or offend, but rather in an effort to express how much Huang’s work has brought to my understanding of art as an aesthetic storm, a storm that is the image of the important shifts in aesthetic and theory that have fed the field of art history, its narratives and discourses, over the last twenty years, leaving it baffled. Far from a mea culpa, such a statement, and ultimately the essay that follows, is an attempt to shed light on how Huang’s work, his attitude and methodology, can be perceived as an aesthetic revolution, a quiet but radical one.
Then, a few years later, the Walker brought into its collection The History of Chinese Painting and the History of Modern Western Art Washed in the Washing Machine for Two Minutes (1987/1993), an early work by the artist that in many ways stands as a programmatic piece, a piece that defined at an early stage of his career his aesthetic attitude and philosophy, a piece that so far stands as a matrix for his work and, consequently, as a matrix for this exhibition
15 more annotations...
- never pitting one system of knowledge or aesthetics against another, but using one to better understand the other and identifying an option
- In Huang’s conceptual universe, it is as if Enlightenment thinker René Descartes is dialoguing with Ming dynasty Confucian scholar Wang Fuzhi, or the Discourse on Method is attempting to make sense of the Book of Changes , and the other way around. Each binomial is the negative of the other, belonging to two semantic domains that are opposed but that complement each other.
- Besides the fact that I am convinced that he does not have any respect for the notion of truth itself, he has developed a methodology based on the coexistence of paired entities, each of which is categorically and reciprocally opposed to the other but, at the same time, cannot exist without the parity of the other one, without any consideration of hierarchical anteriority or superiority.
- This relationship of opposition and association, of push and pull, is what generates meaning and is eventually constitutive of the alternative or global modernity that Huang Yong Ping, from the early stages of his career, has been striving to identify
- he correlation method mentioned earlier, a correlation thought of as a palindrome, one that can be read both ways, from West to East and from East to West
- and asserting that “an obvious Western habit is that if you have an idea, you are expected to carry it through consistently: you will do it once, ten times, a hundred times; you will do it for a year, then for ten years; you are expected to insist on doing it obstinately”[
- squeezing canonical avant-garde works into another frame of reference, forcing us to reconsider entirely our own parameters.
- Not only does he shake up this institutional truth, but in the same breath he snaps the chronological thread of “our” modernity
- What he stages is a defamiliarization of the codes by combining them with “alien” references
- “Is it possible for us not to mention [Duchamp] anymore, to let him really die? This is possible but is also not possible. At least, the reason for me writing this essay is to stop myself mentioning him again in the future.”[25]
- Both Hammons and Huang have integrated through such a strategy their need to strike back at the adversary by using its own strategy. Therefore they are able to subvert a system that they do not consider valid, without fighting, but through an infiltration. They do not aim for destruction, which they would not benefit from in the end, but for a “destructuration.”
- On the one hand, this installation sums up Huang’s preoccupation with reconciling I Ching divination with avant-garde subversion; on the other hand, it opens the door to a direction that almost restores the term avant-garde to its original military meaning and allows him to give way to this ontology of the present through a reading of recent history
- two battles have to be considered. The first one is the cultural and aesthetic clash that I have previously described: the clash of Western modernity with global modernity. For the purpose of this work, Huang plays with the Western military metaphor of the avant-garde, which has dominated aesthetic discourses since the early twentieth century. He conflates it with the culture of Chinese warfare, which has often seemed, to Westerners, the domain of the unpredictable and of fatalism. Warfare, like I Ching and divination, stands as a major area of difference between the two cultures, but not an insurmountable one: we are facing two comparable metaphors that measure the gap between two worlds
- ince then, his work has been triggered by an analysis of hegemonic tensions and crises, including both postcolonial history (Palanquin, 1997) and its influence on the contemporary world order and balance (Da Xian—The Doomsday, 1997).
- Bat Project simply outlines the difficulty that the world faces when its balance is slightly challenged by a model that is difficult to identify and control.

24 Nov 08

MyiLibrary Reader

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(b) Apart from clear cases of cheating, the analysis yields real results—what Ettelson finds is actually there, in the words where he finds it. We are no longer dealing with the facility of arbitrary pronouncements, as was the case with the symbolic device—the ‘Satan’ anagram is not hallucinated by Ettelson.
This dedication is bound to remind the reader of the anecdote of the little girl holding an orange in her left hand which, Carroll claims, is the origin of Through the Looking-Glass. (The puzzle is: why does the little girl hold an orange in her left hand, whereas her mirror image holds it in her right hand?) This intertextual reference, whether it is deliberate or not on Ettelson’s part, is food for thought. It is clear that his intuition is not merely demented, but also faithful to Carroll.
2 more annotations...
- The fact is that the result of the rhetorical analysis is pre-programmed, that Ettelson inevitably finds what he was looking for, and that his interpretation is deeply unfaithful to Carroll, who was a deacon of the Church of England and had strictly nothing to do with the Talmud and the ‘Jewish way’. The problem is that the device is also deeply faithful to Carroll’s own devices. Portmanteau-words, words read in a mirror, anagrams: Carroll is fond of all these games, and Through the Looking-Glass is the text where he most obviously practises them (which may account for Ettelson’s choice of this tale over its more illustrious predecessor). The cleverness and skill of the logophiliac are of the same order, and of the same degree, as that of his model, the canonical author. Parodying the famous slogan from the May ’68 events in France, we can only exclaim: ‘Lewis Carroll, Humpty Dumpty, Ettelson, même combat!’
- By playing on signifiers, on the material side of language, it imposes real constraints on the result of the interpretation, the constraints of language (that these effectively constrain is revealed by the temptation to cheat).

18 Nov 08

The Ideals of the East: The Meiji Period: 1850 to the Present Day

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okakura arth464

The second cause of the national reawakening was undoubtedly that portentous danger with which Western encroachments on Asiatic soil threatened our national independence.
So the Meiji restoration glows with the fire of Patriotism, a great rebirth of the national religion of loyalty, with the transfigured halo of the Mikado in the centre. The educational system of the Tokugawas, which had spread the knowledge of reading and writing to all boys and girls alike, studying in the village

p. 216

schools under the resident village priests, had laid the foundation of that compulsory elementary education which was amongst the first acts of the present reign. Thus high and low became one in the great new energy that thrilled the nation, making the humblest conscript in the army glory in death, like a Samurai.
2 more annotations...
- The Code of Morality, the keystone of Japanese ethics as taught in the schools, was given by an imperial mandate, when all other suggestions failed to strike the note of that all-embracing veneration that was needed.
- The wild whirlpool of individualism, seeking ever to make its own stormy will its law, now rending the skies in its agonies of destruction, again lashing itself into furious welcome of any new scrap of Western religion and polity, would have dashed the nation to pieces in its seething turmoil, had not the solid rock of adamantine loyalty formed its immovable base.

The Book of Tea, by Kakuzo Okakura

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okakura arth464

Art, to be fully
appreciated, must be true to contemporaneous life. It is not that we
should ignore the claims of posterity, but that we should seek to enjoy
the present more. It is not that we should disregard the creations
of the past, but that we should try to assimilate them into our
consciousness. Slavish conformity to traditions and formulas fetters the
expression of individuality in architecture. We can but weep over the
senseless imitations of European buildings which one beholds in modern
Japan. We marvel why, among the most progressive Western nations,
architecture should be so devoid of originality, so replete with
repetitions of obsolete styles. Perhaps we are passing through an age of
democratisation in art, while awaiting the rise of some princely master
who shall establish a new dynasty. Would that we loved the ancients
more and copied them less! It has been said that the Greeks were great
because they never drew from the antique.

11 Nov 08

Martin Heidegger [Internet Encyclopedia of Philosophy]

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heidegger

Existence means that Dasein is potentiality-for-being (Seinkönnen); it projects its being upon various possibilities. Existence represents thus the phenomenon of the future. Then, as thrownness, Dasein always finds itself already-in a certain spiritual and material, historically conditioned environment; in short, in the world, in which the space of possibilities is always somehow limited. This represents the phenomenon of the past as having-been. Finally, as fallenness, Dasein exists in the midst of beings which are both Dasein and not Dasein. The encounter with those beings, 'being-alongside' or 'being-with' them, is made possible for Dasein by the presence of those beings within-the-world. This represents the primordial phenomenon of the present.
Hence, it comports itself towards the future by always coming back to its past; the past which is not merely past but still around as having-been. But in this "going back" to what it has been which is constitutive together with "coming towards" and "being with" for the unity of Dasein's temporality, Dasein hands down to itself its own historical "heritage," namely, the possibilities of being that have come down to it. As authentically temporal Dasein is thus authentically historical.
1 more annotations...
- If being after the meaning of which Heidegger looks seems so elusive, almost like nothing, it is because it is not an entity; it is not what-is; it is no-thing; it is not a being. "Being is essentially different from a being, from beings". The "ontological difference," the distinction between being (das Sein) and beings (das Seiende), is fundamental for Heidegger.

30 Oct 08

MyiLibrary Reader

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Brian’s Story Explained: Art that Is Critical of Religion

1. See Jane Dillenberger, The Religious Art of Andy Warhol (New York: Continuum, 1998), and the review by Eleanor Heartney, “Andy’s Icons,” Art in America 87, no. 6 (1999): 35–37. Dillenberger argues

Technè Volume 12, Number 1 - Gilbert Simondon and the Dual Nature of Technical Artifacts by Marc J. de Vries

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For a long time, philosophy of technology was more concerned with broad issues such as the influence of technology on society and culture.

The Princeton Dante Project (2.0) - Long Toynbee "Paradiso_1"

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The second heaven, that of Mercury, is presided over by archangels
(arcangeli), representative of logic
(dialettica); it is tenanted by the spirits of those who
for love of fame wrought great deeds on earth, but were thereby
somewhat turned from love of God (Spiriti operanti)

Ludwig Wittgenstein (Stanford Encyclopedia of Philosophy)

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It becomes clear that the notions used by the
Tractatus — the logical-philosophical notions —
do not belong to the world and hence cannot be used to express
anything meaningful. Since language, thought and the world, are all
isomorphic, any attempt to say in logic (i.e., in language) "this and
this there is in the world, that there is not" is doomed to be a
failure, since it would mean that logic has got outside the limits of
the world, i.e. of itself. That is to say, the Tractatus has
gone over its own limits, and stands in danger of being
nonsensical.
In any case, the
issue of realism (vs. anti-realism) in the Tractatus must
address the question of the limits of language and the more particular
question of what there is (or is not) beyond language.
21 more annotations...
- The quandary arises concerning
  the question of what it is that inhabits that realm of nonsense, since
  Wittgenstein does seem to be saying that there is something there to
  be shown (rather than said) and does, indeed, characterize it as the
  ‘mystical’.
- Wittgenstein used this term to
  designate any conception which allows for a gap between question and
  answer, such that the answer to the question could be found at a later
  date.
- What marks the
  transition from early to later Wittgenstein can be summed up as the
  total rejection of dogmatism, i.e., as the working out of
  all the consequences of this rejection
- all have to do with this transition towards anti-dogmatism in
  its extreme.
- a change from a conception of meaning as representation to a view
  which looks to use as the hinge of the investigation
- "if we had to name anything
  which is the life of the sign, we should have to say that it was its
  use"
- Rather, when
  investigating meaning, the philosopher must "look and see" the variety
  of uses to which the word is put. So different is this new perspective
  that Wittgenstein repeats: "Don't think but look!" (PI 66);
  and such looking is done vis a vis particular cases, not
  thoughtful generalizations
- Still, just as we cannot give a final, essential definition of
  ‘game’, so we cannot find "what is common to all these
  activities and what makes them into language or parts of language"
  (PI 65).
- There is no reason to look, as we have done
  traditionally — and dogmatically — for one, essential core
  in which the meaning of a word is located and which is, therefore,
  common to all uses of that word. We should, instead, travel with the
  word's uses through "a complicated network of similarities,
  overlapping and criss-crossing" (PI 66).
- the very formulation of the questions as
  legitimate questions with coherent content is put to the test. For
  indeed, it is both the Platonistic and mentalistic pictures which
  underlie asking questions of this type, and Wittgenstein is intent on
  freeing us from their bewitchment. Such liberation involves
  elimination of the need to posit any sort of external or internal
  authority beyond the actual applications of the rule.
- "This was our paradox: no course of action could
  be determined by a rule, because every course of action can be made out
  to accord with the rule. The answer was: if everything can be made out
  to accord with the rule, then it can also be made out to conflict with
  it. And so there would be neither accord nor conflict.
- according to which Wittgenstein is here voicing a skeptical paradox and
  offering a skeptical solution.
- for an utterance to be meaningful it must be possible in
  principle to subject it to public standards and criteria of
  correctness
- the wider — and more elusive —
  network of rules which determine what linguistic move is allowed as
  making sense, and what isn't.
- they express the
  norms for meaningful language
- they are not idealized as an external system to be conformed
  to. Moreover, they are not appealed to explicitly in any formulation,
  but are used in cases of philosophical perplexity to clarify where
  language misleads us into false illusions
- Forms of life can be understood
  as changing and contingent, dependent on culture, context, history,
  etc; this appeal to forms of life grounds a relativistic reading of
  Wittgenstein. On the other hand, it is the form of life common to
  humankind, "the common behavior of mankind" which is "the system of
  reference by means of which we interpret an unknown language"
  (PI 206). This is clearly a universalistic turn, recognizing
  that the use of language is made possible by the human form of
  life. Lest this universalism be taken to an extreme, Wittgenstein
  reminds the reader that as philosophers " … we are not doing
  natural science, nor yet natural history" (PI p.230).
- "Philosophy simply puts
  everything before us, nor deduces anything. — Since everything
  lies open to view there is nothing to explain"
- The work of the
  philosopher consists in assembling reminders for a particular purpose
- as critique of language
- and
  this simply means that the philosophical problems should
  completely disappear

29 Oct 08

Hybrid Logic (Stanford Encyclopedia of Philosophy)

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This allows us to formalize natural
language statements whose truth-values are relative to for example
times, like the statement

it is raining

which has clearly different truth-values at different times. Now,
certain natural language statements are true at exactly one time,
possible world, or something else. An example is the statement

it is five o'clock 15 March 2006

Consciousness Part II

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Teleology refers to the existence of purpose. I am not referring
to an external teleology in a theistic sense or as the Final Cause of
all, rather to internal teleology
Niels Hansen describes ‘internal
teleology’ as, “...self-organization - the tendency or
striving of concrete processes towards the highest possible degree of
organization in turning the multiplicity of their universes into
coherent expressions.
1 more annotations...
- Every concept in the liquid realm forms a linked, integral part of
  civilization and progress.

Technè Volume 12, Number 1 - An Ontology of Technology: Artefacts, Relations and Functions by Clive Lawson

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many argue that technology may be seen as the archetypal black-box category of social science

Jean Baudrillard (Stanford Encyclopedia of Philosophy)

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onstitutes a process of reification in
commodities, technologies, and things (i.e., “objects”)
come to dominate people (“subjects”) divesting them of
their human qualities and capacities.
For Lukàcs, the Frankfurt School, and Baudrillard,
reification — the process whereby human beings become
dominated by things and become more thinglike themselves — comes
to govern social life.
13 more annotations...
- described how individuals were controlled by
  ruling institutions and modes of thought.
- e sign to
  describe how commodities, media, and technologies provide a universe
  of illusion and fantasy in which individuals become overpowered by
  consumer values, media ideologies and role models, and seductive
  technologies like computers which provide worlds of cyberspace
- total defeat
  of human subjectivity by the object world (see Section 3).
- His postmodern turn is thus connected to a form
  of technological determinism and a rejection of political economy as a
  useful explanatory principle — a move that many of his critics
  reject
- postmodern
  societies are organized around simulation and the play of
  images and signs, denoting a situation in which codes, models, and
  signs are the organizing forms of a new social order where simulation
  rules
- In addition, his postmodern universe is one of hyperreality
  in which entertainment, information, and communication technologies
  provide experiences more intense and involving than the scenes of
  banal everyday life, as well as the codes and models that structure
  everyday life.
- In this postmodern world, individuals flee from the "desert of the
  real" for the ecstasies of hyperreality and the new realm of computer,
  media, and technological experience. In this universe, subjectivities
  are fragmented and lost, and a new terrain of experience appears that
  for Baudrillard renders previous social theories and politics obsolete
  and irrelevant.
- "a state of terror which is characteristic of the
  schizophrenic, an over-proximity of all things, a foul promiscuity of
  all things which beleaguer and penetrate him, meeting with no
  resistance, and no halo, no aura, not even the aura of his own body
  protects him. In spite of himself the schizophrenic is open to
  everything and lives in the most extreme confusion"
- an individual in a
  postmodern world becomes merely an entity influenced by media,
  technological experience, and the hyperreal.
- "reality," to such an
  extent that the very concepts of the social, political, or even
  "reality" no longer seem to have any meaning
- They implode into a "silent majority," signifying "the end
  of the social" (1983b).
- Turning the Marxist
  categories against themselves, masses absorb classes, the subject of
  praxis is fractured, and objects come to rule human beings. Revolution
  is absorbed by the object of critique and technological implosion
  replaces the socialist revolution in producing a rupture in
  history
- the catastrophe of
  modernity and eruption of postmodernity is produced by the unfolding
  of technological revolution.

26 Oct 08

YouTube - Bear grylls vs Les Stroud

www.youtube.com/watch - Preview

dose is true he dont go out lika rambo on the camera and sitting still and getting a lift when you have to travel... filming it all by himself and varry all the f-ing camera gear with him... honestly if bear should film it all by himself he should't stand a chance.. but i have to agree that bear grylls eating horrible shit and making a good tv-show but les is NR#1

Kath Blair's Public Library

Support Staff - Career Opportunities - Human Resources - Mount Royal College

Mall Directory » Sounds of Science, Sounds of Sales, Sounds of Skills

Introduction to Julia Kristeva, Module on the Abject

Tutorial 1: Playing a QuickTime Movie

Minuteman Press : Welcome

ColourTime: Request A Quote

Why am I Afraid of Huang Yong Ping?

MyiLibrary Reader

The Ideals of the East: The Meiji Period: 1850 to the Present Day

The Book of Tea, by Kakuzo Okakura

Martin Heidegger [Internet Encyclopedia of Philosophy]

MyiLibrary Reader

Technè Volume 12, Number 1 - Gilbert Simondon and the Dual Nature of Technical Artifacts by Marc J. de Vries

The Princeton Dante Project (2.0) - Long Toynbee "Paradiso_1"

Ludwig Wittgenstein (Stanford Encyclopedia of Philosophy)

Hybrid Logic (Stanford Encyclopedia of Philosophy)

Consciousness Part II

Technè Volume 12, Number 1 - An Ontology of Technology: Artefacts, Relations and Functions by Clive Lawson

Jean Baudrillard (Stanford Encyclopedia of Philosophy)

YouTube - Bear grylls vs Les Stroud

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