Monday, 31 May 2010
Does Capote "match" with the writter described by Toni Morrison?
Freedom of writers
Does the writer you are reading match the writer described by Toni Morrison?
Give concrete examples from the literary piece you are reading to illustrate your answer
Yes, Mary Gaitskill matches in some way what Toni Morrison has said, through her writing I’ve discovered how to regard beyond in my society, I’ve learnt to reflect about what happens around me, as Toni Morrison said, I was called by “Because they wanted to” to built a deeper look about the government, about the university, about my family situation, about the girl next door, what I want to say is that Mary has taught me trough her short stories to increase my reflexive points of view.
Mary talks about real people, having real problems, she’s “disturbing” what people know about society, because she’s showing reality using her characters, for example in her short story “because they wanted to” she shows a girl who is taking care of some children who were abandoned, the thing is the girl (babysitter) didn’t know what happened.
So when I read the story I confronted it with my context and I realized that there are thousands of possibilities that that situation could happen here, of course!!!, a mother who is in a bad situation, looks for someone to take care of her children and then leaves… because she has no job, no money for raising her sons, I was like touched in a deep way by Mary, even if she doesn’t know Colombia, I do, and what I’ve just said it’s true.
Saturday, 29 May 2010
Deer heart
Does Adam Haslett match the writer described by Toni Morrison?
It's impossible for me to say that Adam Haslett matches the writer described by Toni Morrison perfectly, however I could say, according to my perception of the book “You are not a stranger here”, that there are some aspects in which Haslett could match that writer.
First, Haslett expresses the consequences, the result of a broken society. In my opinion the basic distinction I have from the book is some kind of disconnection of the people with their families, as in “The Beginnings of Grief”, in which a young boy who lives with substitute parents is involved in a reality of drugs and desperation without any help or support. In our society, in our world this behavior rejected because of our “comatose” state of life. As everything is in coma, the feelings of shame and desperation are hidden.
To continue with this idea, in “War's end”, a professor has to handle with his mental disorder (if it really exists); with his frustration of not taking charge of his role of husband. But he found another chance, outside, where his illness had no importance, with people he considered strange. This radical individualism is the starter of the majority of these disorders, and it has been presented as a form of a main personal goal by the worldwide net of control shared by the governments.
And that impossibility of communication is clearly reflected in “Notes to my Biographer”. Adam Haslett tries, in my opinion, to disturb this state of coma presenting us how important the other is, and how important the family is for the young people and for the elders.
Now, if I think that the author of the book that I am reading fulfills those ideas of a writer, of course, not because is Morrison herself (I am reading beloved) but because in this book there are many examples of shocking the false peace of a world which did not want to recognize the abuses and the pain produced by slavery. I do not know what examples I can mention for showing that I have read the book but maybe I could say that the most shocking was not that a mother killed her own daughter, or the abuses applied on the slaves; the most shocking event was the love that Denver had for Beloved. She thought her mother had a debt with that girl, and at the same time, she had that debt too. For that reason Denver loved Beloved in that strong way. So I feel myself identified with Denver, in some way I have always thought that my mother has a debt with my oldest brother; therefore my love for him is bigger than the love for my other brothers.
Thursday, 27 May 2010
The Writer' spirit
Does the writer you are reading match the writer describe by Toni Morrison?
Give concrete examples from the literary piece you are reading to illustrate your answer.
I strongly believe that Toni Morrison, who is the writer I’m reading, does match perfectly in the description she herself proposes to define, I would say, a writer’ spirit. I will illustrate such consideration by remarking some strong reflections she makes in her speech.
I can appreciate and observe the strong image that comes to my mind when she says that the writers disturb the social coma (peace), when they take a deeper look regarding to the reality and also when she says that the writers can transform the social trauma, that is to say, they are capable to turn the sorrow into meaning. The book I’m reading is clever in doing so.
First, the story itself inquires me and confronts me to see the sadness of the racism from the author point of view, and that happens when she proposes the dead as a way out to the slavery, to this kind of suffering.
I remember Sethe the main character, saying to a guy named Paul D that the worst part of that suffering was to be alive. The shocking part is reveled when Sethe decide to kill her own daughter in order to set her free, in a not easy act of braveness. At that moment is where the big question is placed.This sorrow turned into meaning by this author, allows me to at least, understand the deep roots of racism
Wednesday, 26 May 2010
In Sula’s book, the author is like a witness that has the ability to describe that society not only in their cultural aspects but also in theirs moods and feelings as individual persons, one examples of that was the part in which Hannah, Sula’s mother asked her mother Eva if she loved her children and she answered saying that she was very busy to think about it because she had to bring food for them so, in that part the author let us to see part of Eva’s feelings, carrying us to think in more than super-fictional things.
Tuesday, 25 May 2010
exam, written part
As I said in first place, I thought my answer would be negative because Mary Gaitskill writes about uncommon and personal topics like sex, and although I say that is an uncommon and a personal topic, actually it is not, because sex makes part of all people.
Perceptive: Guao! I liked a lot a part of a story when through a character Mary talks about the ugly world of Hollywood, she is very perceptive at this moment, because everybody thinks Hollywood is amazing but she writes about the superficial and horrible of this path. “He found Hollywood too horrible to bear. “the vanity... the falsity it's so base. You lose everything, you turn into this creature”
She narrates the life of people around the culture of sex. Writing is freedom, so Mary is able to say things nobody dares to say, because sex is a “taboo”.
TONI MORRISON'S DEFINITION OF WRITERS
In Toni Morrison's speech, she says that a writer causes "troubles" with its words; troubles in social realities, political issues in day by day situations.
It is funny because it is true. Writers are the voices of the untold reality, the facts that nobody touches or even those that are as common as life itself.
In Toni Morrison's Novel "Sula", (the one I am reading), she pointed on the fact that a young black woman in the 1920's leaves her house, her family, her traditions, her "life" and goes after her expectations. It is a shocking and disturbing act, not only because she is a young black woman, but the fact she is located in a moment of history when it was unthinkable for a woman to do that, to express her individuality, her motivation of life, her desire of giving a "meaning" - a real one - to her "being".
On the other hand, Morrison tells us the story of Nell, Sula's best friend in her childhood, a good looking black female, who was taught the good manners of a woman in society, the correct language to use and the way a "good" black woman must behave. But deep inside, she was eager to look for something else, even when she was a little one, (age 12) after she came back from New Orleans from her grandmother's funeral; she recognized herself as a "me", a strong "me" reflected in a mirror.
Those examples of individuality, of self-recognition, show us the generosity of Morrison in her cultural and political "writer-being". She is a trouble maker because she expresses the voices of those passionate females and their lives. She responses to the - historic - chaos of the US, first naming and telling the story; then she mapped it locating the story in a black community and, finally; she expresses her "stillness" by defying the status of two black woman.
That is why I think Toni Morrison matches "perflectly" her own definition of a writer.
Did you realize how a “grade” can shape us?
It’s funny to think about that because maybe I’m writing about a dilemma even I’m playing with a double-edged sword (I hope can handle it in a smooth way). But since we have a grade between us and our success, sometimes we fell in the game (yes! Don’t deny it, we are all sinners) entering ourselves into a pathetic role playing as bootlickers or little toadies (I’m not judging anyone) standing boring, tedious activities that seem to be everlasting in order to give a good perception to your “viewers”: “Oh, that’s a hard-worker guy/girl attending all the activities and doing very good interventions” however, there’s a common goal in all that superficial stuff: fighting for a good grade…
Beyond the meaningful objectives and all the interest we have in every reading, discussion, whatever! (Really believe it) It remains a dark side on the table: a little voice far away saying: “oh god! When are we going to finish this, have we taken all the time to do THIS? Maybe this time would be more pleasant and better used if I do other assignments” But no! Keep going, don’t cancel it, don’t cancel it!
Language is something that grows in society and needs practice every time, but attention and a good environment where people could feel the tentative to take part in that is also relevant. A good reading is good because it is! (Think about it) a bad selection of activities around it can turn it into something boring and a lack of initiative, on the other hand I don’t see the aim if you come and sit down feeling left out, be confident! No matter if you open your mouth to say “des conneries” just to get the attention of the professor and thinking that as a better grade in your 30 % of “trabajo continuo”, pffff (yes I said it!)
Grade, grade, grade… A good grade makes us good learners or disciplined people doing what they have to…???
(The thoughts in here don't represent the thinking of the author)
Obviously I will be waiting for my 5.0...
eehhh just kidding, Ironic subject for Ironic people.
Does the writer you are reading "match" the writer described by Toni Morrison?
Of course! They’re closely related in many aspects of her life, noted in her style of writing. As Toni Morrison said we are caught in a world where dictators, fools are in charge of the most part of our activities. This world's impact has to be abolished/erased from people's perspective, even a minority has to do all the work by themselves, THIS IS A CLAIM FOR HUMANITY! The writer profile given by Toni Morrison is a clear example of what Mary Gaitskill tries to express in her work, we can appreciate the conception of censorship in her short stories, but in the very own way that Mary Gaitskill develops them. We talk about a "non-censorship" that gives a tremendous meaning to her writing, "a romantic weekend" is the proof of that, while reading this short story you feel the chaos that Beth is living, trapped in a sado-masochistic relation that turns the sequence into something desperate and passionate with a morbid sense; or in "secretary" how this apparently "common" woman became a savage lover that explores a completely new sexual world with her employer. Mary Gaitskill shows how people’s judgment does not matter in the development of her "pieces of art".
We can also see in Gaitskill's work the perception of violence (described by Toni Morrison as one of the tools of Chaos with naming), however, her characters seem to be in perfect harmony with that issue, because they love feeling absorbed by external facts and the inside part that it takes consequently. We can say that Mary Gaitskill's stories take part in society issues, not in the common way (showing what is 'correctly good') but making a reflection (inner reflection) developed by oneself. This nightmare as Toni Morrison presented is called society and is up to us to find a widely-opened view of what we want to happen in this unknown world.
Monday, 24 May 2010
According to Toni Morrison’s speech, I could say that Samuel Becket was a writer who had many characteristics that Morrison describes: one of them and what I considered is the most important and the most beautiful is “Building meaning through imagination”. I think Samuel Becket had a lot of this characteristic and I could read it in waiting or Godot when he created theses characters; Vladimir, Estragon waiting for someone who never arrives, and just some years ago Samuel was living in the middle of the World War II, but using his imagination and combine it with his real experiences, he could create a play where represents in certain way the appreciation of life for people involved in this catastrophic war and for him, on the other hand I can see how too how Godot became hope.
Maybe hope for Vladimir in a different sense than for Estragon and the boy, but maybe those characters shared their different perception of hope with millions of people who lived during the period of the World War II; perhaps Becket saw many Vladimirs and Estragons. And here I remark other characteristic that Samuel Becket had of which Morrison talked about, because as Toni said an author has to go deeper and look what’s really going on and also take place from where he or she is, in the case of Becket, he could take place of his world around him and did what he could do, to write. And I’m sure he never lived the nightmare of an author (Never been posted). In fact Becket was persecuted because he defended his ideas, his beginnings and always tried to exposed what he thought about humankind , about society about his own existence, and he didn’t fall in what many authors fall, in passivity and stillness.
Waiting for Godot was and is the sample that Becket was really interested on write about the real reality and not just to write without sense.
Luis Fernando Agudelo
Breakfast at Tiffany’s, a short novel written in 1958 by the American author Truman Capote (1924-1984), is a good example of persecution or criticism toward author’s thought. Capote introduced a new style and used new language in which he criticized social conventions, therefore this book was forbidden. But, this oppositely caused an author’s success. He dealt with homosexuality using a new language which was “inadequate” for that moment, some people only saw this point. Instead the real meaning of the book was the identity search through the two main characters who had different psychological features and different points of view about the life, but with their sincere friendship and respect each other, they created a meaningful life.
GLORIA PATRICIA MARTÍNEZ
I remember that in the essay she mentions some point of view about women, for example something that amuzed me was that no woman could be so wonderful and intelligent like Shakespeare, and not because they were'nt intelligent, but because they never could have that geniality. How did they realize or stand that? if women's writting was not valued. Besides there was an opinion that i liked, men based their superiority taking into account that women were inferior, no the meaning of being superior; also they choose the most ignorant and weakest women.
With all these opinions and arguments Virgina disturbed people of that century, women realized and were supported by someone who was totally right. She constructed a new meaning of women in that time, in that caos.
Monica Medina
Sunday, 23 May 2010
Thursday, 20 May 2010
Carolyne Steel, how food shapes our cities
But when you think that every day for a city the size of London, enough food has to be produced, transported, bought and sold, cooked, eaten, disposed of, and that something similar has to happen every day for every city on earth, it's remarkable that cities get fed at all.
We live in places like this as if they're the most natural things in the world, forgetting that because we're animals, and that we need to eat, we're actually as dependent on the natural world as our ancient ancestors were. And as more of us move into cities, more of that natural world is being transformed into extraordinary landscapes like the one behind me, it's soybean fields in Mata Grosso in Brazil, in order to feed us. These are extraordinary landscapes. But few of us ever get to see them.
And increasingly these landscapes are not just feeding us either. As more of us move into cities, more of us are eating meat, so that a third of the annual grain crop globally now gets fed to animals rather than to us human animals. And given that it takes three times as much grain -- actually ten times as much grain -- to feed a human if it's passed through an animal first, that's not a very efficient way of feeding us.
An it's an escalating problem too. By 2050 it's estimated that twice the number of us are going to be living in cities. And it's also estimated that there is going to be twice as much meat and dairy consumed. So meat and urbanism are rising hand in hand. And that's going to pose an enormous problem. Six billion hungry carnivores to feed, by 2050. That's a big problem. And actually if we carry on as we are, it's a problem we're very unlikely to be able to solve.
19 million hectares of rainforest are lost every year to create new arable land. Although at the same time we're losing an equivalent amount of existing arables to salinization and erosion. We're very hungry for fossil fuels too. It takes about 10 calories to produce every calorie of food that we consume in the West. And even though there is food that we are producing at great cost we don't actually value it. Half the food produced in the USA is currently thrown away. And to end all of this, at the end of this long process, we're not even managing to feed the planet properly. A billion of us are obese, while a further billion starve. None of it makes very much sense.
And when you think that 80 percent of global trade in food now is controlled by just five multinational corporations, it's a grim picture. As we're moving into cities, the world is also embracing a Western diet. And if we look to the future it's an unsustainable diet.
So how did we get here? And more importantly, what are we going to do about it? Well, to answer the slightly easier question first, about 10,000 years ago, I would say, is the beginning of this process. In the ancient Near East, known as the Fertile Crescent. Because as you can see it was crescent shaped. And it was also fertile. And it was here, about 10,000 years ago that two extraordinary inventions, agriculture and urbanism, happened roughly in the same place, and at the same time.
This is no accident. Because agriculture and cities are bound together. They need each other. Because it was discovery of grain, by our ancient ancestors, for the first time, that produced a food source that was large enough and stable enough to support permanent settlements. And if we look at what those settlements were like, we see they were compact. They were surrounded by productive farm land and dominated by large temple complexes like this one at Ur, that were, in fact, effectively, spiritualized, centralized food distribution centers
because it was the temples that organized the harvest, gathered in the grain, offered it to the gods, and then offered the grain that the gods didn't eat back to the people. So, if you like, the whole spiritual and physical life of these cities was dominated by the grain and the harvest that sustained them. And, in fact, that's true of every ancient city. But of course not all of them were that small. And, famously, Rome had about a million citizens by the first century A.D. So how did a city like this feed itself? The answer is what I call "ancient food miles."
Basically, Rome had access to the sea, which made it possible for it to import food from a very long way away. This is the only way it was possible to do this in the ancient world, because it was very difficult to transport food over roads, which were rough. And the food obviously went off very quickly. So Rome effectively waged war on places like Carthage and Egypt just to get its paws on their grain reserves. And, in fact, you could say that the expansion of the Empire was really sort of one long, drawn out militarized shopping spree, really. (Laughter) In fact -- I love the fact, I just have to mention this: Rome in fact [imported oysters from Britain], at one stage. I think that's extraordinary.
So Rome shaped its hinterland through its appetite. But the interesting thing is that the other thing also happened in the pre-industrial world. If we look at a map of London in the 17th century, we can see that its grain, which is coming in from the Thames, along the bottom of this map. So the grain markets were to the south of the city. And the roads leading up from them to Cheapside, which was the main market, were also grain markets.
And if you look at the name of one of those streets, Bread Street, you can tell what was going on there 300 years ago. And the same of course was true for fish. Fish was of course coming in by river as well. Same thing. And of course Billingsgate, famously, was London's fish market, operating on-site here until the mid-1980s. Which is extraordinary, really, when you think about it. Everybody else was wandering around with mobile phones that looked like bricks, and, sort of, smelly fish happening down on the port.
This is another thing about food in cities: Once its roots into the city are established, they very rarely move. Meat is a very different story because, of course, animals could walk into the city. So much of London's meat was coming from the northwest, from Scotland and Wales. So it was coming in, and arriving at the city at the northwest, which is why Smithfield, London's very famous meat market, was located up there. Poultry was coming in from East Anglia and so on, to the northeast. I feel a bit like a weather woman doing this. Anyway. And so the birds were coming in with their feet protected with little canvas shoes. And then when they hit the eastern end of Cheapside, that's where they were sold. Which is why it's called Poultry.
And, in fact, if you look at the map of any city built before the industrial age, you can trace food coming in to it. You can actually see how it was physically shaped by food, both by reading the names of the streets, which give you a lot of clues. Friday Street, in a previous life, is where you went to buy your fish on a Friday. But also you have to imagine it full of food. Because the streets and the public spaces were the only places where food was bought and sold.
And if we look at an image of Smithfield in 1830 you can see that it would have been very difficult to live in a city like this and be unaware of where your food came from. In fact, if you were having Sunday lunch, the chances were it was mooing or bleating outside your window about three days earlier. So this was obviously an organic city, part of an organic cycle. And then 10 years later everything changed.
This is an image of the Great Western Railway in 1840. And as you can see, some of the earliest train passengers were pigs and sheep. So all of a sudden these animals are no longer walking into market. They're being slaughtered out of sight and mind, somewhere in the countryside. And they're coming into the city by rail. And this changes everything. To start off with, it makes it possible for the first time to grow cities, really any size and shape, in any place. Cities used to be constrained by geography: they used to have to get their food through very difficult physical means. All of the sudden they are effectively emancipated from geography.
And as you can see from these maps of London, in the 90 years after the trains came, it goes from being a little blob that was quite easy to feed, by animals coming in on foot, and so on, to a large splurge, that would be very very difficult to feed with anybody on foot, either animals or people. And of course that was just the beginning. After the trains came cars. And really this marks the end of this process. It's the final emancipation of the city from any apparent relationship with nature at all.
And this is the kind of city that's devoid of smell, devoid of mess, certainly devoid of people. Because nobody would have dreamed of walking in such a landscape. In fact, what they did to get food was they got in their cars, drove to a box somewhere on the outskirts, came back with a week's worth of shopping, and wondered what on earth to do with it. And this really is the moment when our relationship, both with food and cities, changes completely.
Here we have food -- that used to be the center, the social core of the city -- at the periphery. It used to be a social event, buying and selling food. Now it's anonymous. We used to cook; now we just add water, or a little bit of an egg if you're making a cake or something. We don't smell food to see if it's okay to eat. We just read the back of a label on a packet. And we don't value food. We don't trust it. So instead of trusting it we fear it. And instead of valuing it we throw it away.
One of the great ironies of modern food systems is that they've made the very thing they promised to make easier much harder. By making it possible to build cities anywhere and any place, they've actually distanced us from our most important relationship, which is that of us and nature. And also they've made us dependent on systems that only they can deliver, that, as we've seen, are unsustainable.
So what are we going to do about that? It's not a new question. 500 years ago it's what Thomas More was asking himself. This is the frontispiece of his book "Utopia." And it was a series of semi-independent city-states, if that sounds remotely familiar, a day's walk from one another where everyone was basically farming-mad, and grew vegetables in their back gardens, and ate communal meals together, and so on. And I think you could argue that food is a fundamental ordering principle of Utopia. Even though More never framed it that way.
And here is another very famous "Utopian" vision, that of Ebenezer Howard, "The Garden City." Same idea. Series of semi-independent city-states. Little blobs of metropolitan stuff with arable land around, joined to one another by railway. And again, food could be said to be the ordering principle of his vision. It even got built, but nothing to do with this vision that Howard had. And that is the problem with these Utopian ideas, that they are Utopian.
Utopia was actually a word that Thomas Moore used deliberately. It was a kind of joke. Because it's got a double derivation from the Greek. It can either mean a good place, or no place. Because it's an ideal. It's an imaginary thing. We can't have it. And I think, as a conceptual tool for thinking about the very deep problem of human dwelling, that makes it not much use. So I've come up with an alternative, which is Sitopia, from the ancient Greek, "sitos" for food, and "topos" for place.
I believe we already live in Sitopia. We live in a world shaped by food, and if we realize that, we can use food as a really powerful tool -- a conceptual tool, design tool, to shape the world differently. So if we were to do that, what might Sitopia look like? Well I think it looks a bit like this. I have to use this slide. It's just the look on the face of the dog. But anyway, this is -- (Laughter) it's food at the center of life, at the center of family life, being celebrated, being enjoyed, people taking time for it. This is where food should be in our society.
But you can't have scenes like this unless you have people like this. By the way, these can be men as well. It's people who think about food, who think ahead, who plan, who can stare at a pile of raw vegetables and actually recognize them. We need these people. We're part of a network. Because without these kinds of people we can't have places like this. Here I deliberately chose this because it is a man buying a vegetable. But networks, markets where food is being grown locally. It's common. It's fresh. It's part of the social life of the city. Because without that you can't have this kind of place, food that is grown locally and also is part of the landscape, and is not just a zero-sum commodity, off in some unseen hell-hole. Cows with a view. Steaming piles of humus. This is basically bringing the whole thing together.
And this is a community project I visited recently in Toronto. It's a greenhouse, where kids get told all about food and growing their own food. Here is a plant called Kevin, or maybe it's a plant belonging to a kid called Kevin. I don't know. But anyway, these kinds of projects that are trying to reconnect us with nature is extremely important.
So Sitopia, for me is really way of seeing. It's basically recognizing that Sitopia already exists in little pockets everywhere. The trick is to join them up, to use food as a way of seeing. And if we do that, we're going to stop seeing cities as big metropolitan unproductive blobs, like this. We're going to see them more like this, as part of the productive organic framework of which they are inevitably a part, symbiotically connected. But of course that's not a great image either. Because we need not to be producing food like this anymore. We need to be thinking more about permaculture. Which is why I think this image just sums up for me the kind of thinking we need to be doing. It's a reconceptualization of the way food shapes our lives.
The best image I know of this is from 650 years ago. It's Ambrogio Lorenzetti's "Allegory of Good Government." It's about the relationship between the city and the countryside. And I think the message of this is very clear. If the city looks after the country, the country will look after the city. And I want us to ask now what would Ambrogio Lorenzetti paint if he painted this image today. What would an allegory of good government look like today? Because I think it's an urgent question. It's one we have to ask, and we have to start answering. We know we are what we eat. We need to realize that the world is also what we eat. But if we take that idea, we can use food as a really powerful tool to shape the world better. Thank you very much. (Applause)
Tuesday, 18 May 2010
How food shapes our cities, Carolyne Steel
Monday, 17 May 2010
Authorship, Authority, Citing and the Internet
You see, I'm working with this "peer reviewing on web-based platforms" stuff and thigs go OK up to the point in which I have to deal with defining some web concepts as, for example, "blog".
As you know, nowadays academic writing has a lot to do with citing and references. These are required, among other reasons, to demonstrate that your statements are the result of a wide and careful reading of the literature on the topic your writing about. In these references mentioning authors is very important, specially recognized authors, since these will imprint your writing with trust and authority: these authors are people who have gained recognition by doing deep and good and reliable research and it is with their ideas as well as with the authors themselves that you are going to interact in your writing. Everything's OK so far.
Now, as you may know, centuries ago authors were not important at all, but writings: it was the content of texts what mattered: histories, poems, chants. The texts were completely acceptable without having an author signing them. Later on this situation switched and authors sign was necessary for the acceptance of the text. Today we have both: author and content as requirements for judging the reliability of a text. (And yes, you may be asking "what are the sources you used for saying what you just said?" Well, I read it days ago, on "What is an author?" by Michel Foucaul, and I had read it as well in a book on anthropology and in some texts provided in my English classes) My point is that there has been a change back to the contents, leaving authors aside; this happens only (and up to know) when it comes to the information and knowledge that has been constructed on/through the internet.
Let's take back my example of defining "blog", giving its characteristics and showing the social, cultural and educational usage and impact of this tool. Yes, I found definitions on books, but I found them as well on the internet, specially Wikipedia. So happened when defining "Web 2.0": yes, there is some information in the books, but there is much more and deeper information on the internet and, guess what: this much more and deeper information has no authors at all.
What you find in authored books about internet sometimes doesn't not have a different source than that of the information you find on the internet: millions and millions of users of the web who, through interaction, have developed these concepts, have made them evolve, are making them evolve.
I could locate the very first authored-definitions given for "blog" and "Web 2.0", but they are "old" (although when it comes to technology everything is old after one year) and partially valid. The meanings of these concepts have changed and they are different from their formers. If I were willing to cite one of those authors it wouldn't be of any help since what they stated is not what I'm going to use for my research, what I'm going to use are those concepts that are valid at this very moment and that have been constructed by a whole internet society.
Take as an example Wikipedia. I know it's not quite a reliable source but there are many things in there that you are not going to find in books, besides it contains millions and millions of articles, all elaborated brick by brick by anonymous people. Actually, one article at Wikipedia may have hundreds of authors who have been complementing and correcting it, and the weird thing is that the names of those authors are never there.
In the same way as in Wikipedia, the discussions and ideas circulating through web forums, blogs, chats and other applications construct and shape new concepts.
So, who the fuck am I going to cite when defining Web 2.0? I don't know. Will the academia accept that I use author-less citations? I don't know.
Just as not to finish the discussion with the end of this text, in invite you to revise the new ways in which authorship is being managed: yet being authors, some people permit not only the free circulation of their work but permit as well the modification and adaptation of it (and all this for free) Read some documentation on Creative Commons Licences, GNU licences, and other Open licences as well. Think of their impact on the matter of authorship.
That's all for now.
PS.
1. As you may have noticed, this text is full of links all over. This is a different approach to reading: Hypertext Reading, which is, among other things, non-linear and interactive.
2. Shit! all of this time I had been saying "monography" over and over again. I just found out that's not the right word, the right word is "monograph"! That's why it's good to use spell-check.
Let's talk, get into the discussion with your comments.
***************
A couple of very, very recommended readings, specially the second one (and it says "Zemanta" because that's the name of the web application I use for finding related articles.)
Thursday, 13 May 2010
My Favorite Poem
One Art
Elizabeth Bishop
The art of losing isn't hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.
Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn't hard to master.
Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.
I lost my mother's watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn't hard to master.
I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn't a disaster.
--Even losing you (the joking voice, a gesture
I love) I shan't have lied. It's evident
the art of losing's not too hard to master
though it may look like (Write it!) like disaster.
Wednesday, 12 May 2010
gonna see my friend
"Porque a medida que nos relacionamos de manera abstracta más nos alejamos del corazón de las cosas y una indiferencia metafísica se adueña de nosotros mientras toman el poder entidades sin sangre ni nombres propios. Trágicamente, el hombre está perdiendo el diálogo con los demás y el reconocimiento del mundo que lo rodea, siendo que es allí donde se dan el encuentro, la posibilidad del amor, los gestos supremos de la vida."
"En la desesperación de ver el mundo he querido detener el tiempo de la niñez. Sí, al verlos amontonados en alguna esquina, en esas conversaciones herméticas que para los grandes no tienen ninguna importancia, he sentido necesidad de parar el curso del tiempo. Dejar a esos niños para siempre ahí, en esa vereda, en ese universo hechizado. No permitir que las suciedades del mundo adulto los lastimen, los quiebren. La idea es terrible, sería como matar la vida, pero muchas veces me he preguntado en cuánto contribuye la educación a adulterar el alma de los niños."
"La educación no está independizada del poder, y por lo tanto, encauza su tarea hacia la formación de gente adecuada a las demandas del sistema. Esto es en un sentido inevitable, porque de lo contrario formaría a magníficos “desocupados”, magníficos hombres y mujeres “excluidos” del mundo del trabajo. Pero si esto no se contrabalancea con una educación que muestre lo que está pasando y, a la vez, promueva al desarrollo de las facultades que están deteriorándose, lo perdido será el ser humano."
From La resistencia, by Ernesto Sábato
Tuesday, 11 May 2010
That I would be good. Alanis Morissette.
"That I Would Be Good"
http://www.azlyrics.com/lyrics/alanismorissette/thatiwouldbegood.html
that I would be good even if I did nothing
that I would be good even if I got the thumbs down
that I would be good if I got and stayed sick
that I would be good even if I gained ten pounds
that I would be fine even if I went bankrupt
that I would be good if I lost my hair and my youth
that I would be great if I was no longer queen
that I would be grand if I was not all knowing
that I would be loved even when I numb myself
that I would be good even when I am overwhelmed
that I would be loved even when I was fuming
that I would be good even if I was clingy
that I would be good even if I lost sanity
that I would be good
whether with or without you
http://www.youtube.com/watch?v=44TRkB9dxvE
Monday, 10 May 2010
"IT" / "ME"
Been a "nothing" is been "something",
So... is there a "nothing"? Are we "nothing"?.
I'm not. I am "something", "some" - "thing". I'm not supposed to be what it is.
If there is an "it", it is because there is an "I", and I'm not an "it". I'm an "me".
"Me" allows me to be.
"Me" allows me to feel.
"Me" allows me to create.
"Me" allows me to distroy.
"Me" allows me... to think!.
I do think, I do love, I do hate, I do "am".
Some new/old thoughts
I'm thinking on a stick been cracking by a kid.
I'm thinking on a bird been killed by a stroke.
I'm thinking on a pen, doesn't writing what I want.
I'm thinking on a book, with white pages on a shell.
I'm thinking in the time, not been on a line.
I'm thinking on a board, full of worlds of a young boy.
I'm thinking in the fact, that I feel kind of lost.
I'm thinking on a voice, yelling from my throat,
saying curses to my soul.
I'm thinking on an end.
On an final point, on a salty tear,
on a bitter smile, on a cigarette... yeah on a cigarette.
I'm thinking that I need... that I need to smoke.
I'm thinking on a show, neon lights and the applause.
I'm thinking on a piano.
I'm thinking on a song.
I'm thinking on an empty city of flying cards.
On a letter not been write.
I'm thinking on you... not thinking on me.