Category Archives: Visceral/Cerebral (art)

Guaranteed to Heighten Proprioception: Boston’s More Than A Feeling remixed at the end of the world

In a time when genres like Dub Step (which I adore, by the way) are bringing chaotic and palpable cut & paste erraticism to soundscape, we all need a centering force to be our calming guide.

Enter: StPaulAtTheEndOfTheWolrd, a saint who has recently set out to reclaim your pre-Google attention span.

Like I tweeted in January, StPaulAtTheEndOfTheWorld’s “More Than More Than A Feeling” is the closest experience you can have to floating inside a sensory deprivation tank.  It is ethereal, other-worldly, and downright uplifting to weary souls.  If you are in the middle of comps, mid-terms, candidacy examinations, defenses, or jumping through any other academic hoop – I implore you: take 20 minutes out of your day to meditate on this solid tune – it will make you into a mindful academic with concentration skills unmatched by timid rivals.

More Than More Than a Feeling has hit the SoundCloud charts this week being played almost 170k times in the past 3 days, thanks to an early blog post by Dangerous Minds which scored him an almost 25K overnight boost, and it has been climbing.  I can’t wait to see how far he goes (I heard there is a concept album in the works).

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Multifaceted Living

On the sliding scale of time that gradiently builds and ebbs and recedes I am perpetually being re-context-ed and being iteratively re-inserted into particular frames of reference and spheres of existence.  I am simultaneously (at this point in time) (in no particular order) physically framed: a mortal, a human, and a male; overlapping-ly framed: a man, a child, a son, a husband, a friend, an ex-boyfriend, an occasional ass, but most of the time decent; functionally framed:an employee, a husband (again), a neighbor, a citizen, a representative, a cook, a linguist, and a discourse analyst; and characteristically framed: creative, a reader, obstinate, sour-faced when I am actually quite contented and happy, a driven individual, annoying, entertaining, friendly, unconcerned with things some people think I ought to be concerned about, temperate, calm, chaotic, paradoxical, slimy, ambiguous, wrong, right, and indifferent.

As individuals we have many types of roles and expectations.

These roles and expectations have a place in community.

Let’s assume that individuality exists because there is community.  Let’s agree that community on a macro-level means relationship.  Community defines the application of our roles, defines the way that we relate to the community at large.  Throughout life we have the option to naturally accept or naturally decline participation in any given role.

Our descriptive and identifying labels probably exists because of some micro-role played out in some micro-plot-line of thought or action or interaction or relation.

For me, like any other human, each particular facet of my being carries a whole set of relationships and contexts that also need to be understood if I am to be understood in full.  For instance, being a husband suggests a living spouse, which at one point meant a new marriage, which meant in-laws, which meant new grandparents, most likely new siblings, and new aunts and uncles.  If the actual relationships were not so big of a factor in defining that new portion of my identity, then certainly, the way in which those relatives perceived me in context of how they perceived my spouse certainly carried some sort of value and created expectations for me (including the way I was to interact as a new and extended member of the family).  Furthermore, if family isn’t enough, there were new friends with whom I also entered into relationship, including their sets of expectations, ad nausea.  And this is only the external relations in marriage – I have left aside any relations and expectations that I shared with my spouse.

What about the rest of the roles?  It starts getting crazy when you try to make sense of it all.

In addition to holding a variety of roles I also have sets of attributes that are either activated or deactivated depending on which role I am satisfying.  These attributes are features that define and differentiate so that you can determine who I am and what I am supposed to be doing and why, and how, and when, and where.  I am tour staff, I am the person who knows how to get to Pittsburgh, I am short so I am not the person to change the lightbulb, I am quick so I am the person to run down the street and catch the delivery driver because he forgot a package, I am whatever I am, in terms of attributes, in terms of adjectives.

This is not compartmentalizing; this is maximizing self-awareness to harness it as a tool to leverage the options placed before me.  This reminds me of that Aboriginal saying:  The more you know the less you need.  I know myself.  If we do not know our capabilities, our roles, our nature, then we cannot expect to market those skills to the people who find them valuable in employees, in dates, in spouses, in friends, it voters, et cetera.  Although I am not an objectivist, Ayn Rand tells us that absolutely the writer must know the essentials if they are to write anything of value at all.

You as a multi-hat wearing individual absolutely must know your essence if you are to accomplish anything at all.

As we grow older and accumulate hats we learn that roles do the things they are able to do because of gained experience and knowledge.  Time changes student into teacher, child into adult.  But some roles can overlap and occur simultaneously, such as child, student, pitcher, class clown, et cetera.  Holding a particular role does not necessarily preclude an individual from holding other particular roles.  It may preclude, but it does not necessarily preclude.

Roles overlap and occur simultaneously, some precede, some follow, some preclude at particular times, and others are instances of roles filled immaturely in more mature ways; iterations of roles that continue perpetually until our bones petrify, (skeleton is a meronym of body…that means skeleton is a part of body), or roles that we chose to turn on and off, but irrespective of the time slots that the roles fill they occur between the womb and the tomb, riga tiga tum tum.

I am not your friend until you meet me.

Without being my friend, you can still know the intimate fact based on my usage of “womb” and “tomb” with that nonsensical four word sequence in the prior paragraph that I am culturally literate enough in some particular culture to be able to reference West Side Story.

And we all know so much.

We can’t be satisfied to know that we have an identity or a personality, or that we belong to any particular culture or collection of cultures.  We need to want to know what to do with that knowledge.  We need something more here.  But we operate on a daily basis with the awareness that we need to know our materials and our tools in order to do anything productively creative with our skills and resources.  Accordingly, we need to investigate the nature of our identities, how our identities converge to belong to cultures, how those cultural memberships alter our identities, and then how to use that knowledge in our chaotically complex lives; we need to practice multifaceted learning for this multifaceted living.

http://ryandewey.org/Multifaceted_Living.html

Motion Imagery & The Glitch Mob

I love this image from the cover of The Glitch Mob’s We Can Make the World Stop:

People occasionally describe winding canyons as if they were snakes, and this image makes that language explicit by showing a snake winding through the canyon.  We know that canyons do not wind (at least, not in the sense that the language implies), usually it is the river that created the canyon that did the winding as it formed the canyon over time.  But, when this information gets applied to the canyon we can say that this is fictive motion, the canyon is fictively moving, fictively winding.

When The Glitch Mob translate this idea into the clear visual imagery of this cover art, it forces the obvious in a way that makes it compelling to look at.  I think this is because it is a conceptual blend in which there is an input space of CANYON and another input space of SNAKE.  The blended space is the scene of the snake body in the canyon.  Usually in a conceptual blend some of the structure from the input spaces gets left out through the process of compression, but in this case, it appears that there is no compression, but rather a full specification of the input spaces in the blended space.  I think this is a bypassing of compression, and I think that it makes the SNAKE represent the trajector of the motion, so by eliminating compression, what is normally construed as fictive motion has to be thought of as veridical motion; the SNAKE is moving, not the vacuous space of the canyon.

Does the movement of the snake imply causality? In other words, is the snake causing the winding of the canyon?

Does the movement of the snake imply opportunistic movement? In other words, is the snake moving in the canyon because the canyon is a CONDUIT in the conceptual metaphor sense?

Like I said in the first paragraph, except for cases where people are discussing rivers, people normally ascribe the motion to the canyon.  Canyon is thus conceived of as the substance moving through the CONDUIT. However, in this case, the snake is the substance moving through the conduit, and the snake is factively in motion.  This stagnates the fictive motion reading of this imagery, and replaces it with a blend that exploits a conceptual metaphor.  Amazing.

(image courtesy of The Glitch Mob press kit)

Perpetual Epicentral Density Sphere

Dandelion seeds (achenes) can be carried long ...

Image via Wikipedia

The Perpetual Epicentral Density Sphere is a unpublished model of cognition that I began developing in the late ninety’s and early years of 2000 as a result of my training in linguistics and anthropology.  I worked on it before I knew what Cognitive Linguistics actually was and, in fact, it was part of my conversion to CogLing.  With a nod to remix culture and assemblage theory, this model tried to blend together several validated models of discourse and culture in a super feeble attempt to bridge the epistemological gulf between realism and relativism and explain the complete communication picture in a systematic and procedurally elegant way (read: quasi-arbitrary).  This was the early days of my interest in systems theory, but I was really naive about the complexity of complexity.  Basically, the more that I worked on the model the more I came to see that Cognitive Linguistics already had working solutions to a lot of the questions I was addressing.  In fact, when I read back through my notes now, I see that it is actually a model of attention and dynamic construal.  I won’t tell you anything more about the mechanics right now, but I expect that one day I will pull it back off the shelf and show it to the world; in the mean time, here is an analogy from my original manuscript (part of which is in this book) for you to chew on:

“Pick the white puff of seeds on a dandelion clock, pick the stem and hold it in your hand, and meticulously and decidedly, remove every single floating seed, one-by-one until there is only one remaining.  This is what the first thought does when it moves to the second thought.  You have deselected every seed, ignored them all but one, the one you highlighted, the one you lit up – the one you selected.  This, the lone seed on the stem, a sphere at the base, the rod line of the seed body, and the end of the seed a circle of tiny white hairs that extend radially from the stem in many many directions, this seed is a snapshot. You are holding in your hand the most natural visible representation of how your thoughts live and travel.  Now put that last seed up to your mouth and do the wind’s job and send that seed floating.  Where it lands it either develops or dies, just like your thought.”

“If you can take a line of thought and follow it to every dead-end, out every open door and window, to every destination – and catch it resting – you will see simply and plain how lawless and unruly even simple thoughts are in their brief lives.”

You can view images from my portfolio that were inspired through this process at: RyanDewey.org

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Inherent Narratives in Ad Hoc Collections

Part of my portfolio includes this project called Weaving Narratives: Possessions = Autobiographies, it is an exploration into how any ad hoc grouping of objects has some kind of inherent narrative, albeit a selected and limited narrative; but it is a narrative nonetheless.

When I was a boy I remember my father keeping a box of items that meant a lot to him.  I keep a box like this too.  The Italian blacksmith that I apprenticed under also kept boxes of items, but on a different scale; when he died I got one of those boxes: we call it a storage unit in American English. Continue reading

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Ad hoc Categorization and the “Virtual City” in Soulwax’s “Part of the Weekend Never Dies”

2 Many DJs (Stephen and David Dewaele / Soulwa...

Image via Wikipedia

Recently I started watching one of my all-time-favorite documentaries again, Soulwax’s “Part of the Weekend Never Dies“; I was struck by a particular film sequence that captured the essence of what I would call a “virtual city” that embodies part of the notion of ad hoc categorization. Continue reading

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Reflexivity and Recursion in Soulwax’s “Part of the Weekend Never Dies”

Cover of "Nite Versions"

Cover of Nite Versions

Since I am posting a lot about Soulwax this month, I thought I should include this clarifying snippet about the differences between the various acts which the Dewaele brothers lead.  In “Part of the Weekend Never Dies” Stephen explains these acts to a Mexican female presenter who is interviewing him about the show:

[00:03:50] Presenter: “First of all, what’s the, can you tell the audience like what’s the difference between 2ManyDJs, Soulwax, or Radio Soulwax?” Continue reading

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What does Soulwax’s website, DJing, & Construction Grammar have in common?

Soulwax’s website extends an invitation for viewers to participate in DJing as they explore the website.  From my first exposure this has been an amazing experience.  The intuitive guided navigation doubles as a loading of the clips so that your browser cache holds the clip for later manipulation in the mixing.  If you patiently experience each of the clips instead of navigating away from the site, you will get the chance to mix the video loops and beats by clicking your mouse. Continue reading

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Guest Post: The Digital Polis – Nicholas Carson Miller

I invited Nicholas Carson Miller to guest post on the shape of a particular internet culture…I hope you enjoy his work -SportLinguist

I. The New Prehistory

We can’t go ask ancient peoples what was going on when they decided to get together and start building cities. Frustratingly, none of the folks involved in the development of prehistoric communities are still around to ask and weren’t kind enough to leave detailed ethnographic and historical accounts of their experiences. Shame on them. We can, however, connect to the internet and observe the development of a new kind of community.

Early humans, tiring of wandering and hunting alone, began living around one another, trying their hands at farming, trading necessities and surpluses, and finding increasingly productive and complex ways to protect and govern the communities that developed. Early internet users logged on alone, visiting web pages and sending limited communications—but then a need for specialized communal activities lead to email lists, chat rooms, social networks, and, most interestingly, forums.

These internet communities, especially certain infamous and influential forums such as 4chan, Gaia Online, and Something Awful, are beginning to exhibit fascinating cultural trends that are to me reminiscent of early city-states. The development of the culture of these communities should be taken as a possible reflection of the development of real-world communities and is conveniently occurring right before our eyes at a highly accelerated rate. Continue reading

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Weaving Narratives: Possessions = Autobiographies

I recently created a short interview about my art project “Weaving Narratives” where I describe the process of reading objects that people own.  I hope you check it out and let me know what you think in the comment section [click the picture to view the film].

Also, weave your own narrative using the photo-documentation for this project [a free download to use in your own creative process].

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What I got for Christmas…

Integrantes de Daft Punk, banda francesa de mú...

Image via Wikipedia

  1. Daft Punk’s film “Electroma”
  2. Daft Punk’s album “Human After All”
  3. Gilles Fauconnier’s & Mark Turner’s “The Way We Think: Conceptual Blending and the Mind’s Hidden Complexities”
  4. Stephen C. Levinson’s “Space in Language and Cognition: Explorations in Cognitive Diversity”
  5. Stephen C. Levinson & David Wilkin’s “Grammars of Space: Explorations in Cognitive Diversity”

Sweet!

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Epenthesis, Truncation, and Phonetic Exploitation in Graffiti

Ridl und Crow

Image by liquidnight via Flickr

While riding the train to school last week I noticed that a lot of the graffiti contains allusions to a sort of folk-phonological understanding of phonemics.

This is not a criticism at all, in fact, from my usage-based perspective I find this to be a delightful exploitation of the English phonemic system…if you think about it, these tags reflect more of an understanding of the phonetic structure of language than do their “proper” & “grammatically correct” (ugh, I hate that concept) representations.

Take these into consideration: Ridl, HEK, HEDAKE, ACERT, from a linguistic perspective, these are pretty clever…even if you hate graffiti, you have to acknowledge that they are clever abstractions.

Anyway, I thought I would point it out…

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CONTAINER Is an Ontological Metaphor

Ontological Metaphors are metaphors that give shape to abstract concepts and even contribute to the structure of Primary Metaphors.  CONTAINER is one of those metaphors. Continue reading

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Think Like a Bacterium: OSMOS, Naïve Quorum Sensing, & the iPad

I was recently sucked into playing OSMOS on my iPad.  I never play video games (usually I am too busy: wife, art, school, work) but I did happen to spend four hours straight playing this game over winter break.  This game synthesizes math, physics, biology, conceptualization and human enhancement.   Continue reading

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