One of the reasons I enjoy Wired so much is that it reminds me that what I see in science fiction can often be found in the here and now. Among the ideas they cite as dangerous in their latest edition is to legalize assisted suicide. They describe a group in Switzerland called Dignitas which has become the destination for suicide tourism. For $10,000, they offer counseling to anyone considering suicide and if the counseling doesn't work, they'll not only guarantee a painless exit, they'll clean up the mess afterward.
In addition to the elegant name and its Swiss location, what makes the place so creepy for me is the fact that they don't have a web site. The discretion of the whole "service" lends itself to an international thriller. I can see a movie in which Matt Damon pretends to be a patient in order to uncover some elaborate conspiracy.
Wednesday, September 30, 2009
Tuesday, September 29, 2009
Play
It's hard to resist a book that begins with an anecdote involving the joyous abandon of a yellow lab and well nigh impossible to resist one that continues with a tale of play dates between a dog and a starving polar bear that doesn't end with carnage. Stuart Brown is a fine storyteller and fortunately for readers, he has a meaningful story to tell about the significance of play in human development. He persuasively argues that play is hardwired into our brains and without it we wouldn't be able to adapt, learn and grow.
I'm only halfway through the book, but I already feel that my hunger for ideas has been satisfied. In addition to the stores about puppies, chimps and sea squirts, I appreciate his ability to illuminate different aspects of play. I'm familiar with the concept of homo ludens and realize that play has been written about many times before but Play is helping me see play in a different light. For instance, he emphasizes that play is a state of mind and goes on to discuss a playful attitude as being an ironic one. If we treat an idea, a person or an event ironically, we have space to bend, twist and change it/him/her.
One of the reasons why I think Brown's work stands out for me is that he doesn't discuss play in a rigid way. He sees play as a fluid concept, a state of mind rather than event. He describes 8 play profiles to explain why different people gravitate towards different types of play: The Joker, The Kinesthete, The Explorer, The Collector, The Director, The Competitor, The Artist/Creator, The Storyteller.
I will keep his Storyteller profile in mind as I begin to make my story game . . . .
I'm only halfway through the book, but I already feel that my hunger for ideas has been satisfied. In addition to the stores about puppies, chimps and sea squirts, I appreciate his ability to illuminate different aspects of play. I'm familiar with the concept of homo ludens and realize that play has been written about many times before but Play is helping me see play in a different light. For instance, he emphasizes that play is a state of mind and goes on to discuss a playful attitude as being an ironic one. If we treat an idea, a person or an event ironically, we have space to bend, twist and change it/him/her.
One of the reasons why I think Brown's work stands out for me is that he doesn't discuss play in a rigid way. He sees play as a fluid concept, a state of mind rather than event. He describes 8 play profiles to explain why different people gravitate towards different types of play: The Joker, The Kinesthete, The Explorer, The Collector, The Director, The Competitor, The Artist/Creator, The Storyteller.
I will keep his Storyteller profile in mind as I begin to make my story game . . . .
Monday, September 28, 2009
What fresh hell is this?
It's Sunday night on Showtime, home of deeply disturbed yet loving parents. In the spring and summer, I followed the downward trajectory of mothers who sought to protect their children from the havoc they wreak in Weeds and United States of Tara. Now that the seasons have turned it's the boys' turn.
Dexter and Californication's Hank are devoted to their children but certainly have funny ways of expressing their love. Awoken again by the cries of the adorable 4-month old insomniac, Harrison Dexter confides in his son that "Daddy kills people." I guess we should be reassured that he clarifies to little Harrison that he kills bad people. Sleep-deprived Dexter spends his days like many of us struggling to maintain balance between work,home and hobby. The only slight difference is that his passion is serial murder. In spite of some missteps like falling asleep in front of a bar while stalking his prey, Dexter's love for his son keeps him rolling around.
Although Hank may not be a serial killer, he possesses an uncanny knack for inflicting damage on anyone with whom he comes into contact. Within a 24-hour period, his daughter and her best friends get high on his stash. He injures the father of the best friend and, best of all, helps lead a raging alcoholic right back to the bottle
It's funny but after years of watching shows like The Sopranos, Deadwood, Band of Brothers, and Rome on Sunday nights, I confess that last week's double feature of HBO comedy felt strange and oddly dissatisfying.
Dexter and Californication's Hank are devoted to their children but certainly have funny ways of expressing their love. Awoken again by the cries of the adorable 4-month old insomniac, Harrison Dexter confides in his son that "Daddy kills people." I guess we should be reassured that he clarifies to little Harrison that he kills bad people. Sleep-deprived Dexter spends his days like many of us struggling to maintain balance between work,home and hobby. The only slight difference is that his passion is serial murder. In spite of some missteps like falling asleep in front of a bar while stalking his prey, Dexter's love for his son keeps him rolling around.
Although Hank may not be a serial killer, he possesses an uncanny knack for inflicting damage on anyone with whom he comes into contact. Within a 24-hour period, his daughter and her best friends get high on his stash. He injures the father of the best friend and, best of all, helps lead a raging alcoholic right back to the bottle
It's funny but after years of watching shows like The Sopranos, Deadwood, Band of Brothers, and Rome on Sunday nights, I confess that last week's double feature of HBO comedy felt strange and oddly dissatisfying.
Sunday, September 27, 2009
Flash Forward
Like Glee, Flash Forward has received plenty of hype. Their respective networks, Fox and ABC, have invested plenty of money in publicity campaigns and in the show themselves. I was happy that Glee had lived up to my expectations and I'm even happier to say that Flash Forward has as well. It's true that I am a huge Lost fan and the series is targeted for me. But I was prepared for a Lost knock off. Moreover, having invested in relationships with TV shows (most notably, Journeyman and Swingtown) and having been burned by network TV with little faith in their own shows, I was wary about being drawn into Flash Forward in spite of its high production values, a cast full of actors who I enjoy and its nifty premise.
Fortunately (or if it follow the same route as Journeyman, unfortunately), just as I was hooked with Lost from the very first moment so was I drawn into Flash Forward. It's probably no surprise since both begin in the disorientation following a major disaster and then begins feeding the viewer information so that they can fill in the blanks. The engagement required really enriches the viewing experience.
Another reason why I find Flash Forward so engaging is that its premise, for a little over 2 minutes almost the entire human race had a vision of their future, lends itself to so many interesting questions. In addition to practical ones like, What kind of disasters would befall us? There are the classic ones like: Is our future fated or do we have free will? Like all really good speculative fiction, we are asked to consider the way we live our own lives and the manner in which me make choices (if those choices do in fact exist). I must admit that I'll be in TV nirvana if Flash Forward achieves it potential and I can look forward to a Flash Forward, Lost double feature.
Just one reference to this week's episode of Glee: You can't tell me that football teams across the country won't be posting their versions of Singles Laides?
And one reference to Mad Men: The unfortunate incident with the riding lawn mower and the golden boy of advertising was the
Fortunately (or if it follow the same route as Journeyman, unfortunately), just as I was hooked with Lost from the very first moment so was I drawn into Flash Forward. It's probably no surprise since both begin in the disorientation following a major disaster and then begins feeding the viewer information so that they can fill in the blanks. The engagement required really enriches the viewing experience.
Another reason why I find Flash Forward so engaging is that its premise, for a little over 2 minutes almost the entire human race had a vision of their future, lends itself to so many interesting questions. In addition to practical ones like, What kind of disasters would befall us? There are the classic ones like: Is our future fated or do we have free will? Like all really good speculative fiction, we are asked to consider the way we live our own lives and the manner in which me make choices (if those choices do in fact exist). I must admit that I'll be in TV nirvana if Flash Forward achieves it potential and I can look forward to a Flash Forward, Lost double feature.
Just one reference to this week's episode of Glee: You can't tell me that football teams across the country won't be posting their versions of Singles Laides?
And one reference to Mad Men: The unfortunate incident with the riding lawn mower and the golden boy of advertising was the
Saturday, September 26, 2009
Learning changes
I wish I knew how to distill the excitement I feel after an inspiring lecture by a top-tier speaker. I'd then find a way to encapsulate it so that I could dose myself with it every morning. When I left the Metropolitan yesterday after listening to Elliot Maisie talk about learning changes, I thought my brain was going to explode as a result of the intellectually energy generated without the possibility of release. (I prefer attending events with a colleague so that we can chat during the ride back to work, but I was solo yesterday.)
Maisie's objective was to emphasize the importance of design when thinking about not just elearning but learning in general. In order to accommodate the changing L&D landscape, educators need to be agile. They need to understand what their learner needs and find the best tool to satisfy those needs. It could be an app on an iPhone, a blog, online coaching, a help function, or a social network. Whatever the solution, it shouldn't be shaped by the tool. The tool should always be chosen after the design. The reason he's so adamant about this point is that he sees the majority of online training as being rigid and unimaginative shaped by a linear, slide by slide tool that only serve to compress the boredom of classroom training into a smaller chunk of time.
I don't think anyone was shocked by what Maisie had to say and I think probably everyone agreed. But what made his voice so powerful was the fact that even though he is considered one of the "fathers" of elearning, he's willing to keep his understanding of elearning broad and flexible. He's as agile as he wants others to be.
Another reason for his significance as a speaker is that he's tuned into the White House agenda. He told us that the next dialogue initiated by the White House after health care will be about Reskilling. Maisie, and my guess the President, believe that we'll be seeing an employment crisis. We simply won't have the right people with the right skills at the right time. Anyone who cares about learning needs to take part in the dialogue about what education needs to look like.
When all is said and done, it's not Maisie's message which sets him apart from other speakers. It's his gift as a storyteller. He recognizes how important a good story is for anyone with something to teach.
The story that won me over was one I"m sure he's told a thousand times to illustrate not only his disdain for powerpoint (which he believes should be regulated by the FDA and removed from the desktops of all senior executives), but also his willingness to "tell it like it is."
Maisie told of a conversation he had with Melinda Gates at a party full of IT hotshots. He set the stage for the story with the statement that Melinda was the creator of the much-loathed Clippie, that evil paper clip who appears when you need help in MS Office. During the meal, Melinda leaned over to Maise and asked him the loaded question, "What is the most important training software tool on the market?" Maisie said he could see the "P" forming on her lips and he paused. But not being one to curb his tongue, he blurted out "Google." He said that the "P" and some food practically fell out of her mouth as response. I guess they then had a lively and intelligent discussion. Isn't that great?
Maisie's objective was to emphasize the importance of design when thinking about not just elearning but learning in general. In order to accommodate the changing L&D landscape, educators need to be agile. They need to understand what their learner needs and find the best tool to satisfy those needs. It could be an app on an iPhone, a blog, online coaching, a help function, or a social network. Whatever the solution, it shouldn't be shaped by the tool. The tool should always be chosen after the design. The reason he's so adamant about this point is that he sees the majority of online training as being rigid and unimaginative shaped by a linear, slide by slide tool that only serve to compress the boredom of classroom training into a smaller chunk of time.
I don't think anyone was shocked by what Maisie had to say and I think probably everyone agreed. But what made his voice so powerful was the fact that even though he is considered one of the "fathers" of elearning, he's willing to keep his understanding of elearning broad and flexible. He's as agile as he wants others to be.
Another reason for his significance as a speaker is that he's tuned into the White House agenda. He told us that the next dialogue initiated by the White House after health care will be about Reskilling. Maisie, and my guess the President, believe that we'll be seeing an employment crisis. We simply won't have the right people with the right skills at the right time. Anyone who cares about learning needs to take part in the dialogue about what education needs to look like.
When all is said and done, it's not Maisie's message which sets him apart from other speakers. It's his gift as a storyteller. He recognizes how important a good story is for anyone with something to teach.
The story that won me over was one I"m sure he's told a thousand times to illustrate not only his disdain for powerpoint (which he believes should be regulated by the FDA and removed from the desktops of all senior executives), but also his willingness to "tell it like it is."
Maisie told of a conversation he had with Melinda Gates at a party full of IT hotshots. He set the stage for the story with the statement that Melinda was the creator of the much-loathed Clippie, that evil paper clip who appears when you need help in MS Office. During the meal, Melinda leaned over to Maise and asked him the loaded question, "What is the most important training software tool on the market?" Maisie said he could see the "P" forming on her lips and he paused. But not being one to curb his tongue, he blurted out "Google." He said that the "P" and some food practically fell out of her mouth as response. I guess they then had a lively and intelligent discussion. Isn't that great?
Friday, September 25, 2009
Deconstruction and Top Chef
When I was in graduate school reading Derrida on deconstruction, the last thing I would have expected is to hear the terms used by judges in a cooking competition. As is usually the case when popular culture adopts a theoretical construct, the concept has been simplified to the point of becoming almost unrecognizable. Whereas we were taught that deconstruction reveals oppositions and contradictions at the heart of every text, foodies take the term literally. The chef was expected to take apart the components of a dish and reconfigure them in a new way.
Although the Top Chef contestants were not working with the same theories as we grad students were, deconstruction functions in a similar way. It allowed the contestants to present food in a new way just as it allows graduate student to read a classic a new way and even rewrite it. Moreover, just as there were some grad students who couldn't grasp the concept of deconstruction so were there contestants who couldn't understand how or even why you'd take apart a classic.
Although the Top Chef contestants were not working with the same theories as we grad students were, deconstruction functions in a similar way. It allowed the contestants to present food in a new way just as it allows graduate student to read a classic a new way and even rewrite it. Moreover, just as there were some grad students who couldn't grasp the concept of deconstruction so were there contestants who couldn't understand how or even why you'd take apart a classic.
Wednesday, September 23, 2009
Connections
Aside from having Baron Baptiste's 40 Days fall out at my feet this morning, I haven't encountered any texts whose narrative threads beg for unraveling. But what has struck me today is how tightly the lives of people are woven together. In spite of all the evidence to the contrary, the number of people who still affirm the myth of the rugged individualist beholden to none amazes me.
Ayn Rand is an author who enables this kind of romantic, delusional thinking. When i was a teenager, I remember embracing her novels. I saw her heroes as passionate and creative, exactly the type of person I thought I could become. The thought of becoming someone as strategic as Dagny Taggart or as creative as Howard Roark thrilled me. Now I see the characters as damaged, miserable people. As I grew older, I began to recognize the importance of collaboration. I began to believe that originality is a myth and that the collective mind is something to be frightened of. Instead, I learned respect for all those who gave to those according to their need. The idea that a small group of separatists could start a community in the mountains of Colorado and actually succeed seems ludicrous.
What I really need to do is reread The Fountainhead. I honestly don't think that I could handle Atlas Shrugged again without completely skipping through the "philosophy," especially John Galt's infamous rant (I mean speech).
Ayn Rand is an author who enables this kind of romantic, delusional thinking. When i was a teenager, I remember embracing her novels. I saw her heroes as passionate and creative, exactly the type of person I thought I could become. The thought of becoming someone as strategic as Dagny Taggart or as creative as Howard Roark thrilled me. Now I see the characters as damaged, miserable people. As I grew older, I began to recognize the importance of collaboration. I began to believe that originality is a myth and that the collective mind is something to be frightened of. Instead, I learned respect for all those who gave to those according to their need. The idea that a small group of separatists could start a community in the mountains of Colorado and actually succeed seems ludicrous.
What I really need to do is reread The Fountainhead. I honestly don't think that I could handle Atlas Shrugged again without completely skipping through the "philosophy," especially John Galt's infamous rant (I mean speech).
Tuesday, September 22, 2009
House, Homicide and a little Bourne
As I type this, I'm also flipping through the channels wondering how people could prefer Dancing with the Stars over So You Think You Can Dance? A lot of bad dancers, bad cover tunes, and terrible costumes vs. stellar dancing, imaginative choreography and cool music? But I come not to bury Dancing with the Stars (as much as I wish I could), I come to praise House.
When my House-hating colleague mocks the series formulaic nature, I really can't argue. It's true that House usually acts like jerk while trying to solve a medical mystery while offending as many colleagues as possible. Typically though the formula works just fine for me. Tonight's show, although predictable, went in a different direction and I really enjoyed it.
At the end of last season, House has bottomed out and ends up committing himself. At the beginning of this season, we're shown a montage of House going through detox. Once he's sweated all the narcotics out, he wants to leave but the chief doctor won't let him. That's because the chief doctor is Andre Braugher who has the acting chops to battle it out with Hugh Laurie and a battle of wills is inevitable. To sweeten the mix, the offbeat, sexy, real Franka Potente plays Hugh Laurie's love interest.
In addition to seeing two of my favorite actors again, what I enjoyed about this week's episode was that it offered a commentary on the myth of the romantic, tormented genius who needs his pain in order to stay creative that ended up being a commentary on the series itself. I found myself asking, "Can the House formula work if House is actually happy?" I look forward to finding out this season.
When my House-hating colleague mocks the series formulaic nature, I really can't argue. It's true that House usually acts like jerk while trying to solve a medical mystery while offending as many colleagues as possible. Typically though the formula works just fine for me. Tonight's show, although predictable, went in a different direction and I really enjoyed it.
At the end of last season, House has bottomed out and ends up committing himself. At the beginning of this season, we're shown a montage of House going through detox. Once he's sweated all the narcotics out, he wants to leave but the chief doctor won't let him. That's because the chief doctor is Andre Braugher who has the acting chops to battle it out with Hugh Laurie and a battle of wills is inevitable. To sweeten the mix, the offbeat, sexy, real Franka Potente plays Hugh Laurie's love interest.
In addition to seeing two of my favorite actors again, what I enjoyed about this week's episode was that it offered a commentary on the myth of the romantic, tormented genius who needs his pain in order to stay creative that ended up being a commentary on the series itself. I found myself asking, "Can the House formula work if House is actually happy?" I look forward to finding out this season.
Monday, September 21, 2009
Laughing in the Dark
I'm beginning to think I no longer represent a cross-section of the TV watching public. It's not because I don't enjoy reality TV. Right now, I have Project Runway, Survivor and Top Chef scheduled to record. It's not because I wouldn't daytime TV if I didn't work. I've plopped myself in front of the TV to watch Oprah and The Bold and the Beautiful on more than one occasion. I'm even willing to watch an episode of The City on my TV. Yep, I can waste my time with the best of them.
My problem is with sitcom comedies. Even shows as great as The Office and 30 Rock do make it on my "Scheduled to Record." If they do, I don't watch them. I'm trying to figure out why they don't draw me in because I fully appreciate a good laugh. But I realized that I generally prefer to laugh when the jokes are framed in a twisty and dark narrative (or as is the case with Glee rocking musical numbers). Rescue Me will bring tears to my eyes from laughter, but 30 Rock, most of the time, will just elicit an amused and appreciative smile (except for that scene with Alec Baldwin playing all the members of Tracy's family during a therapy session).
Another reason I don't follow sitcom comedies is because generally the narrative thread doesn't compel me as do those twisty dark shows or, I hate to even write the word, dramedies do. Ally McBeal sucked me in not because Fish was hilarious but ultimately I wanted to know where Ally's story was going to take her.
I guess I should be thankful that there is something on the TV spectrum that doesn't appeal to me. Otherwise, I'd have an even fuller TV plate than I can handle.
My problem is with sitcom comedies. Even shows as great as The Office and 30 Rock do make it on my "Scheduled to Record." If they do, I don't watch them. I'm trying to figure out why they don't draw me in because I fully appreciate a good laugh. But I realized that I generally prefer to laugh when the jokes are framed in a twisty and dark narrative (or as is the case with Glee rocking musical numbers). Rescue Me will bring tears to my eyes from laughter, but 30 Rock, most of the time, will just elicit an amused and appreciative smile (except for that scene with Alec Baldwin playing all the members of Tracy's family during a therapy session).
Another reason I don't follow sitcom comedies is because generally the narrative thread doesn't compel me as do those twisty dark shows or, I hate to even write the word, dramedies do. Ally McBeal sucked me in not because Fish was hilarious but ultimately I wanted to know where Ally's story was going to take her.
I guess I should be thankful that there is something on the TV spectrum that doesn't appeal to me. Otherwise, I'd have an even fuller TV plate than I can handle.
Sunday, September 20, 2009
The Faces of Glee
There's no denying Glee's wit. The dialogue is playful and smart, offering adult pleasure without disturbing the kids. But I realized last night how much I enjoy the reaction shots. The characters are so delightfully quirky that they all they need to do is raise an eyebrow to crack me up.
Another reason I appreciate the faces is that the members of the Glee club are not played by attractive actors with horn-rimmed glasses, messy hair, bad clothes and no makeup. Just as the vertically challenged choreographer pointed out, they have more than their share of flaws. But there's no doubt that they are the stars.
After just a few shows, my perspective about what makes a star has shifted so much that I'm actually shocked when the hot cheerio or football player shows that they have talent. Yet I wasn't surprised at all to see that the coach, the thumbless shop teacher or the janitor could so smoothly transition into a boy bad.
I can't wait to see where Glee is going to go. I only hope it involves a musical number with Jane Lynch. She's truly divine.
Another reason I appreciate the faces is that the members of the Glee club are not played by attractive actors with horn-rimmed glasses, messy hair, bad clothes and no makeup. Just as the vertically challenged choreographer pointed out, they have more than their share of flaws. But there's no doubt that they are the stars.
After just a few shows, my perspective about what makes a star has shifted so much that I'm actually shocked when the hot cheerio or football player shows that they have talent. Yet I wasn't surprised at all to see that the coach, the thumbless shop teacher or the janitor could so smoothly transition into a boy bad.
I can't wait to see where Glee is going to go. I only hope it involves a musical number with Jane Lynch. She's truly divine.
Friday, September 18, 2009
Glee, Sons of Anarchy and my project
I just have to clap for Glee (or maybe with glee at Glee?). It's wonderful to be able to watch a family show with a wicked and sophisticated sense of humor. Chris and I often look at each other while watching and say, "Did she just say that?" We then look at Luc who is absolutely oblivious but enjoying the show nonetheless. I think we have Akiva Goldsman to thank for the mulitple levels. The writer of "Six Feet Under" is consciously writing a family show.
On the other side of the adult TV spectrum is Sons of Anarchy during which we ban Luc from the living room. It's the type of series that I Quentin Tarantino would appreciate. Last season they seemed to aim high trying to tell the story of Hamlet with bikers. It ended up being disappointing. I didn't stick with it long enough to figure out why. But I am pleased to discover that they've traded Shakespeare for Roger Corman. They've traded betrayal, indecision and ambition for gang rapes and porn. As much as I love reworkings of Shakespeare, believe it or not, it seems to be a wise choice. Bikers are just more fun when they're show mindlessly looting, pillagine and plundering.The show is a whole lot of fun.
At the beginning of the week I mentioned that I was blogging in an attempt to find the right project. What I think I'm going to do is continue writing fragments on appealing narrative threads for the next 33 days. On Day 40, I'll begin weaving them together into an online game that will act as a final project for an indepedent study I'm taking on Immersive Learning. At this point I'm thinking about some kind of story engine that will allow people to generate meaning from all kinds of textual threads and fragments.
On the other side of the adult TV spectrum is Sons of Anarchy during which we ban Luc from the living room. It's the type of series that I Quentin Tarantino would appreciate. Last season they seemed to aim high trying to tell the story of Hamlet with bikers. It ended up being disappointing. I didn't stick with it long enough to figure out why. But I am pleased to discover that they've traded Shakespeare for Roger Corman. They've traded betrayal, indecision and ambition for gang rapes and porn. As much as I love reworkings of Shakespeare, believe it or not, it seems to be a wise choice. Bikers are just more fun when they're show mindlessly looting, pillagine and plundering.The show is a whole lot of fun.
At the beginning of the week I mentioned that I was blogging in an attempt to find the right project. What I think I'm going to do is continue writing fragments on appealing narrative threads for the next 33 days. On Day 40, I'll begin weaving them together into an online game that will act as a final project for an indepedent study I'm taking on Immersive Learning. At this point I'm thinking about some kind of story engine that will allow people to generate meaning from all kinds of textual threads and fragments.
Thursday, September 17, 2009
Homme fatal, Mad Men and Mad Women
This morning I thought that I'd be writing about the powerful silences in Mad Men. Some of my favorite moments in one of my favorite series take place when the camera cuts to what is supposed to be a reaction shot of Don Draper's and we are witness to his gorgeous blankness. However, later in the day a colleague asked why I thought Don appealed to so many female viewers and i realized that what I find attractive about him is connected that gorgeous blankness. Don Draper functions as a screen onto which women project their desire. In other words, he is an homme fatal.
Look, for instance, at how Sally teacher's so quickly falls for him. She's a wounded woman looking for a father figure and she sees Don as a sensitive man for whom children come first. (Of course, later in the episode we see that he barely begrudged his wife half a day while she was delivering their new son) For Betty, Don is a tall, dark Prince Charming but she's ended up a princess in a rather frightening suburban castle. For Peggy, Don is the perfect father, husband and breadwinner.
Like a classic femme fatale, Don is pure surface who only gives an illusion of depth. He's appears to be a self-made man, but he's actually someone who has stolen and embellished someone else's identity. Ultimately, one of the reasons I think that the Mad Women are such well rounded characters is that we see them in relation to the flatness, the blankness, the void that is Don.
Look, for instance, at how Sally teacher's so quickly falls for him. She's a wounded woman looking for a father figure and she sees Don as a sensitive man for whom children come first. (Of course, later in the episode we see that he barely begrudged his wife half a day while she was delivering their new son) For Betty, Don is a tall, dark Prince Charming but she's ended up a princess in a rather frightening suburban castle. For Peggy, Don is the perfect father, husband and breadwinner.
Like a classic femme fatale, Don is pure surface who only gives an illusion of depth. He's appears to be a self-made man, but he's actually someone who has stolen and embellished someone else's identity. Ultimately, one of the reasons I think that the Mad Women are such well rounded characters is that we see them in relation to the flatness, the blankness, the void that is Don.
Wednesday, September 16, 2009
Outbursts
With the coverage of Serena Williams reaction to a foot fault call, Kanye West's comment at the VMA's and Joe Wilson's "No liar," it seems that all kinds of outbursts are making their way into the news. In fact , 2 of the 3 have even pulled in the President one way or another into the fray. As someone who's said plenty of stupid things only to regret them later, I have sympathy for those caught on tape behaving badly. What interests me more than the outbursts themselves is the outrage over the outbursts.
People have always been amused by others doing dumb things. The ongoing popularity of reality shows certainly testifies to that. Seeing someone make a fool of themselves often reassures people that their own flaws are perhaps not that bad. So it surprises me a little that people aren't more blase about the outbursts. I wonder if the outrage is somehow connected to an anxiety over the possibility that impulsive behavior can be recorded, stored and broadcast so easily. In the past, getting caught on tape and seeing that the tape made its way into the public eye on a wide scale was no easy task. It seemed that it was only people who actively sought fame would be humiliated in public. The rest of us could feel safe in our anonymity. Now with cheap, easy-to-use cameras and free social networking tools readily available, all of us, no matter what race, class or gender, can conveniently embarrass ourselves on a grand scale.
I wonder if we'll reach a tipping point with fame (and/or infamy). At some point, will fame will be so easily attainable that it will no longer be alluring? Has technology made it so easy to communicate that being famous no longer holds value? Or is it the case that the need to be seen, heard and known will end up overriding the need for privacy for more and more people.
People have always been amused by others doing dumb things. The ongoing popularity of reality shows certainly testifies to that. Seeing someone make a fool of themselves often reassures people that their own flaws are perhaps not that bad. So it surprises me a little that people aren't more blase about the outbursts. I wonder if the outrage is somehow connected to an anxiety over the possibility that impulsive behavior can be recorded, stored and broadcast so easily. In the past, getting caught on tape and seeing that the tape made its way into the public eye on a wide scale was no easy task. It seemed that it was only people who actively sought fame would be humiliated in public. The rest of us could feel safe in our anonymity. Now with cheap, easy-to-use cameras and free social networking tools readily available, all of us, no matter what race, class or gender, can conveniently embarrass ourselves on a grand scale.
I wonder if we'll reach a tipping point with fame (and/or infamy). At some point, will fame will be so easily attainable that it will no longer be alluring? Has technology made it so easy to communicate that being famous no longer holds value? Or is it the case that the need to be seen, heard and known will end up overriding the need for privacy for more and more people.
Tuesday, September 15, 2009
What is it to be human?
One set of narrative threads that haas struck my fancy today comes from "True Blood." Although I think I represent a cross-section of the American public, I can't claim to know for certain why the series has captured America's attention. But I wouldn't be surprised if some of the threads that appeal to me may appeal to others.
As I type this, I realize that I've already found one of the connections between District 9 and True Blood: The theme of being human. Just as 2 non-humans showed the most humanity in District 9, so did the inhuman Sookie, Bill and Sam assume the roles of heros. In fact, they went on to save humanity which I'm afraid we might not see Wikus and Christopher doing in "District 10."
Those characters in both True Blood and District 9 who are hybrids of one sort or another are clearly troubled. In the case of True Blood, it looks as if next season will focus on their inner turmoil At the end of True Blood Sookie hesitated committing to Bill because of an identity crisis triggered by Maryanne's comments. Sam went in search of his real parent. As for District 9, I have no idea how Wikus will end up feeling although we know that he still remains connected to the human world.
During the course of the next few weeks, I'm going to rest content with pulling narrative threads from my favorite TV shows, movies, books and iTunes lectures (a revived interest). I don't know what I'll do with what I gather, but I trust that I'll be inspired to create something interesting.
As I type this, I realize that I've already found one of the connections between District 9 and True Blood: The theme of being human. Just as 2 non-humans showed the most humanity in District 9, so did the inhuman Sookie, Bill and Sam assume the roles of heros. In fact, they went on to save humanity which I'm afraid we might not see Wikus and Christopher doing in "District 10."
Those characters in both True Blood and District 9 who are hybrids of one sort or another are clearly troubled. In the case of True Blood, it looks as if next season will focus on their inner turmoil At the end of True Blood Sookie hesitated committing to Bill because of an identity crisis triggered by Maryanne's comments. Sam went in search of his real parent. As for District 9, I have no idea how Wikus will end up feeling although we know that he still remains connected to the human world.
During the course of the next few weeks, I'm going to rest content with pulling narrative threads from my favorite TV shows, movies, books and iTunes lectures (a revived interest). I don't know what I'll do with what I gather, but I trust that I'll be inspired to create something interesting.
Monday, September 14, 2009
Bricolage
The moment I heard the distinction made between a bricoleur and an engineer back in grad school, I knew that I was the former. What has given me the greatest pleasure over the years has been completing projects in which I pull together text and images scavenged from all types of cultural artifacts. In high school, I composed a Shakespearean comedy using pieces from Shakespeare's comedies. As an undergrad, I took a actress playing a bag lady, a little Miles Davis and a dance solo to choreograph a final project. In grad school, I worked with wonderfully creative colleagues to craft a video essay that was a commentary on star quality in place of a conference paper.
Given how much material is available on to work with and how easy it is to compose and present work using readily available tools, I ought to be able to weave stories together in a way that makes them matter to people. I ought to be able to design some kind of story engine (Thank you Guillermo del Toro for that concept) or at least gather some people together who'd like to try to make it. For some reason, I think that applying the rules of digital alchemy will help me do this, but I haven't yet worked out exactly what those rules are. I know they have something to do with distilling ideas from a variety of scavenged materials and transforming them into something valuable, but I just haven't figured out how to make it work. What I think I need to do is just start weaving together my current favorite narrative threads into some kind of text and stick it on my web site.
Given how much material is available on to work with and how easy it is to compose and present work using readily available tools, I ought to be able to weave stories together in a way that makes them matter to people. I ought to be able to design some kind of story engine (Thank you Guillermo del Toro for that concept) or at least gather some people together who'd like to try to make it. For some reason, I think that applying the rules of digital alchemy will help me do this, but I haven't yet worked out exactly what those rules are. I know they have something to do with distilling ideas from a variety of scavenged materials and transforming them into something valuable, but I just haven't figured out how to make it work. What I think I need to do is just start weaving together my current favorite narrative threads into some kind of text and stick it on my web site.
Sunday, September 13, 2009
District 9
I would love to be part of the team of writers in charge of fleshing out a sequel to District 9. There are so many open questions whose answers can lead in very interesting directions. First and foremost, will Christopher Johnson return in 3 years? And will he be pissed? Will he transform Wikus back into a human?
Like the majority of critics, I thought District 9 was original and compelling. But for me it wasn't the social context that was the most interesting, but it was the fact that I could end up seeing a giant cat-food loving Prawn as the most human character in the movie, rooting for him knowing that he could very well bring back a fleet of pissed-off brethren to destroy our civilization. Moreover, it was a human's transformation into something completely Other that redeemed him. To me, the sight of Wikus as a prawn creating a metal flower out of junk was very hopeful. (Then again I thought the ending of No Country for Old Men was hopeful.) One of the things I enjoy most about sci fi is that it shows us that being human as nothing to do with a genetic code.
As far as my search for something meaningful to create goes, I'm always stopped by a voice saying, "That's useless. That's trivial."
Like the majority of critics, I thought District 9 was original and compelling. But for me it wasn't the social context that was the most interesting, but it was the fact that I could end up seeing a giant cat-food loving Prawn as the most human character in the movie, rooting for him knowing that he could very well bring back a fleet of pissed-off brethren to destroy our civilization. Moreover, it was a human's transformation into something completely Other that redeemed him. To me, the sight of Wikus as a prawn creating a metal flower out of junk was very hopeful. (Then again I thought the ending of No Country for Old Men was hopeful.) One of the things I enjoy most about sci fi is that it shows us that being human as nothing to do with a genetic code.
As far as my search for something meaningful to create goes, I'm always stopped by a voice saying, "That's useless. That's trivial."
Saturday, September 12, 2009
40 days
I realized that one of the reasons I don't consistently blog is the same reason I'm not following my north star (yeah, Martha Beck does inspire as does Oprah. I'm not ashamed to admit that). I suffer from an anxiety of influence that is exacerbated by the interweb (I'm kind of digging that term). When I sit down to blog or try to figure out a plan for making digital alchemy a reality, I pull away thinking: What do I have to say that hasn't already been said or will be said? What can I create that's not derivative, mediocre or just plain redundant? What can I build that's valuable? But in spite of my anxieties, I can't seem to repress my need to build something that has value. I want to sit at a spinning wheel and turn straw into gold. I want to explore all the different ways there are to tell stories.
So I'm just going to set my anxieties aside and just start spinning. Because I've had success before with a 40-day plan, I am committing myself to spending at least 20 minutes each day trying to turn straw into gold. Part of my plan includes daily blog entries as well as daily meditation. On October 21st, I'll see reevaluate, maybe recommit and hopefully rejoice because I found a way to stay on my path.
So I'm just going to set my anxieties aside and just start spinning. Because I've had success before with a 40-day plan, I am committing myself to spending at least 20 minutes each day trying to turn straw into gold. Part of my plan includes daily blog entries as well as daily meditation. On October 21st, I'll see reevaluate, maybe recommit and hopefully rejoice because I found a way to stay on my path.
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