The lecturers on the first Monday back suggested I look at short stories as a place to begin tackling narratives and as a way to get away from overly obvious representations. Since I have been looking a Angela Carter for my Art Practices class I decided to use her, as her short stories are a good length for a short video work; her symbolism is very and strong; and she has very strong feminist themes running through her re-imagined fairy tales. I began by looking at readings from other people to get a sense of how her writing translates as audio.
(This one is actually a trailer for a film adaptation of a different short story)
Glow in the dark bubbles
And I wish I could find these because they would be awesome at interrupting expectations around fluid dynamics
And an interesting (although probably not reliable) article on the state of the gaming culture in relation to the these videoes and a few other happenings.
This article on the New Republic is an interesting point against Jezebels article, which I felt was a little too sympathetic. I’m more concerned with whether or not the show is women-sensitive overall. I feel that they generally do a good job of showing women and minorities as complex and properly fleshed out characters. I think Jezebel was aiming to place Claire Underwood as a feminist not because they think the character herself is feminist, but that the character has been written to feminist ideals – strong, powerful, but also very flawed. There are moments when you like her and moments when you hate her just as much as Frank. This is the type of complexity that was traditionally under-represented.
Exceprt from a physics basics page
Many people have heard of Sir Isaac Newton. He is famous for developing many scientific theories in mathematics and physics. Newton described how ‘normal’ liquids or fluids behave, and he observed that they have a constant viscosity (flow). This means that their flow behaviour or viscosity only changes with changes in temperature or pressure. For example, water freezes and turns into a solid at 0˚C and turns into a gas at 100˚C. Within this temperature range, water behaves like a ‘normal’ liquid with constant viscosity.
Typically, liquids take on the shape of the container they are poured into. We call these ‘normal liquids’ Newtonian fluids. But some fluids don’t follow this rule. We call these ‘strange liquids’ non-Newtonian fluids.
Here’s a read a long for the story the cornflour/water mixture gets it’s namesake from. The king never seems happy.
Shooting oobleck in a balloon. Steve Carr-ish?
Glow in the dark oobleck
Typical oobleck in a speaker experiment
Kristeva’s coinage of “intertextuality” represents an attempt to synthesize Ferdinand de Saussure’s semiotics—his study of how signs derive their meaning within the structure of a text—with Bakhtin’sdialogism—his examination of the multiple meanings, or “heteroglossia”, in each text (especially novels) and in each word. For Kristeva, “the notion of intertextuality replaces the notion of intersubjectivity” when we realize that meaning is not transferred directly from writer to reader but instead is mediated through, or filtered by, “codes” imparted to the writer and reader by other texts. For example, when we read James Joyce’s Ulysses we decode it as a modernist literary experiment, or as a response to the epic tradition, or as part of some other conversation, or as part of all of these conversations at once. This intertextual view of literature, as shown by Roland Barthes, supports the concept that the meaning of a text does not reside in the text, but is produced by the reader in relation not only to the text in question, but also the complex network of texts invoked in the reading process. –
More recent post-structuralist theory, such as that formulated in Daniela Caselli’s Beckett‘s Dantes: Intertextuality in the Fiction and Criticism (MUP 2005), re-examines “intertextuality” as a production within texts, rather than as a series of relationships between different texts. Some postmodern theorists  like to talk about the relationship between “intertextuality” and “hypertextuality“; intertextuality makes each text a “living hell of hell on earth”  and part of a larger mosaic of texts, just as each hypertext can be a web of links and part of the whole World-Wide Web. Indeed, the World-Wide Web has been theorized as a unique realm of reciprocal intertextuality, in which no particular text can claim centrality, yet the Web text eventually produces an image of a community–the group of people who write and read the text using specific discursive strategies.
One can also make distinctions between the notions of “intertext”, “hypertext” and “supertext”.Dictionary of the Khazars by Milorad Pavić. As an intertext it employs quotations from the scriptures of the Abrahamic religions. As a hypertext it consists of links to different articles within itself and also every individual trajectory of reading it. As a supertext it combines male and female versions of itself, as well as three mini-dictionaries in each of the versions.
Take for example the
Cause I’ve been neglecting updating my blog, it’s easier to just put all these links in one post as they have disabled embedding. Also Im adding some stuff from the archives.
Why is everyone so obsessed with Frozen?
It is a fairytale that critiques fairytales.
Why are there so many superhero movies?
Makes the argument that superheros are a modern myth, and tread the line between negative and positive liberty.
A love letter to the Simpsons
Mike talks about the cultural importance of the long running satire.
Is the show ‘Community’ a post-modern masterpiece?
Yes. Mike also gives a really good working definition of post-modernism
Lee’s photos and video installations tell a fantasy tale based on an intermingling of Eastern and Western popular culture and the study of new technologies and how they influence tradition.
The graphics used inevitably refer to the manga tradition, but are mixed with Western aesthetic ideals, thus giving life to transgender, transcultural characters who live in an imaginary world governed by testosterone. Through an exploration of videogame dynamics, intended for a male public, and a fascination with new technologies, the artist analyses aspects of popular culture, globalization and especially femininity in relation to the media. Through her numerous works she demonstrates that the exploitation of the female body is still very much a relevant question.