Culture Making is now archived. Enjoy five years of reflections on culture worth celebrating.
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Posts tagged cultural worlds

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photo by Flickr user Wonderlane, 21 July, 2005 :: via Intelligent Travel

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from "The Global Pandemic of the Telenovela," by Pablo Helguera, translated by Megan McDowell, Vice Magazine, Vol. 15 No. 8 (July 2008) :: via Utne Reader

Since the first days of the [Telenovela] institute’s research, I began to notice common patterns in the way each country related to telenovelas, and, at the same time, the way in which a country’s relationship to telenovelas revealed something unique about it. A Canadian researcher, Denise Bombardier, described it perfectly with her phrase “Give me a telenovela and I’ll give you a nation.” In general terms, however, telenovelas implement what the critic Tomás Lopez-Pumarejo (my principal theorist at the Institute) described as “the drama of the subconscious”: They are stories that revolve around ontological questions: “Where is my son?” or “Where is my love?”

There is a clear relationship in the way in which the telenovela soap operas explore the social tensions of a country and convert them into collective therapy. This process worked very well in countries that had recently emerged from communism, where people were casting about in a psychological search to deal with the class taboos that had dominated for so long. As a result, a drama centered on the impossibility of love because of social or economic obstacles was extremely powerful. Several studies of the time during which Los Ricos También Lloran was broadcast in Russia indicate that programs simultaneously broadcast from the US (such as Dallas and Dynasty) were popular but never generated the same level of interest, because Russians could not identify with the family problems of an oil millionaire in Texas. The higher production quality of those programs didn’t seem to matter either, and so companies like Televisa did not overly concern themselves with investments in production. It was the drama, the emotions worn on the sleeve, and in part the exotic settings that gave the telenovelas a special attraction.

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from "Why have Catholics stopped confessing?," by Andrew Santella, Slate, 17 November 2005 :: via Alan Jacobs

The biggest barrier between Catholics and the confessional, however, may be the real effort it requires. Unloading your transgressions on the Internet takes a few computer clicks—you can do it on your coffee break. But done right, Catholic confession demands a rigorous examination of conscience and real contrition, to say nothing of the prayers you may be assigned for penance and the thinking a priest may ask you to do about the ways you’ve let yourself and God down. No wonder we are more comfortable with the Eucharist service, which demands only that we line up like consumers and accept something for free. Dorothy Day wrote of having to “rack your brain for even the beginnings of sin.” That’s work.

Napoleon Street, Hobart, Tasmania, Australia, Google Street View

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"Virginia Postrel on glamour," TED.com, February 2004

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from "Holy Monastery of Simonos Petra (Simonopetra)," by Flickr user ConstantineD, 1 July 2008 :: via Intelligent Travel

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excerpt Musilanguage

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According to evolutionary musicology, “Musilanguage” is a proto-linguistic form of communication somewhere in between, on the one hand, emotive grunting/cooing/moaning/what-have-you, and then on the other, semantically/ symbolically appropriate but sonically arbitrary sounds that convey meaning (i.e. words). As most things are when it comes down to it, this particular concept is about gettin’ busy.

In “Descent of Man,” Darwin describes “true musical cadences” used by “some early progenitor of man” to woo the opposite sex (or to get totally whack with the same one). This “musilanguage” — a term coined by neurologist Steven Brown — would ostensibly evolve into language and music, respectively.

The Icelandic post-rock four-piece Sigur Rós is well-known for switching up the emotive and the referential. A made-up language Vonlenska (“Hopelandic” in English), which emulates the cadences of Icelandic without actually meaning anything, peppers their songs up to the current album, Með suð í eyrum við spilum endalaust (“With a Buzz in Our Ears we Play Endlessly”). Now on tour in Europe, Japan, Canada and the US, the band’s bassist confessed in an interview with Pitchfork media, however, that all the hullaballoo about the nature of their lyrics and linguistic hijinks was, and is, rather hype. For example the title of a track on the last album, “Gobbledigook”, was not so much a comment on how they express themselves, but rather a misspelling of the Icelandic “Gobbldigob”, a word for the clippity-clop of horses’ hooves.

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"A Palestinian woman sorts olives during the harvest in a grove next to Israel's separation barrier near the West Bank village of Abu Dis, on the outskirts of Jerusalem," by Ashraf Abu Turk (AP), The Big Picture, 15 October 2008

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image Arabesques
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"Arabesques: incrustations en stuc sur pierre (du XVIe. au XVIIIe. siècle)," from L'Art arabe d'après les monuments du Kaire depuis le VIIe siècle jusqu'à la fin du XVIIIe par Prisse d'Avennes, NYPL Digital Gallery :: via BibliOdyssey

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gendersite.org

The women took issue with mainstream UK initiatives to ‘design out crime’ in their dislike of the surveillance culture and technology promoted in the name of community safety.  This government-promoted approach includes felling trees to ensure clear sightlines for CCTV cameras,  erecting railings around steps and public monuments where people like to linger and chat, covering public spaces with ugly signage prohibiting everyday activities,  or installing “mosquitos” (high-pitched sounds) to deter young people from congregating in the street.

The very presence of CCTV made women feel that an area must be unsafe.  Although many wanted to see more uniformed people in public spaces, they preferred the sight of park wardens, bus conductors, and toilet attendants rather than police.  Fenced-off areas and barriers made them feel trapped. Security guards, overseeing privatized public spaces, were also seen as a problem - concerned primarily with the profitability of the enterprise, and not the well-being of the visitor.

The factor that contributed most highly to women’s sense of safety was ‘a variety of/ lots of other people about’; often they would add ‘smiling people’, ‘happy people’, ‘the sound of children laughing’. WDS therefore does not support the current mainstream approach to community safety. Designers and decision-makers need to think more about how to attract a wide range of different people to come and enjoy themselves in the public spaces of towns and cities.  One way of achieving this is simply through making such places beautiful - a concept rarely discussed in the context of safety. It is this quality above all which will draw people out of their homes and cars to occupy and enjoy a sense of well-being in public urban space.

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"Junk Drawer, Chicago IL," by Paho Mann, 2003 :: via kottke.org

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NYTimes.com Ideas Blog, 12 October 2008

Literature | A reviewer says it’s a good thing the archbishop of Canterbury has written a book about Dostoyevsky. To figure out this Russian fellow, “we need a guide who combines the gifts of a literary critic and a trained theologian.” And like Dostoyevsky, the cleric, through his unruly Church of England, knows what it’s like to juggle “incompatible beliefs.” [TLS]

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from "Playing God on Private Practice," by Alisa Harris, The Curator, 10 October 2008

I watch Grey’s Anatomy for the fast-paced gore and the overblown personal dramas. I watch its spin-off, Private Practice, for all that along with its thoughtful treatment of bioethical dramas – the same dramas we’re seeing in real-life hospitals and public debate.

The bioethics debate isn’t just a clinical and scientific debate or an abstract and philosophical one. It’s a debate about how to best fulfill the human longings for long life, good life, health and family. There’s all sorts of humanity mixed up in it - competing human longings and fallible human judgment deciding human life’s creation and existence. While philosophers and politicians squabble, doctors practice bioethics every day; and they don’t always have the time for debate when human life is at stake and the ethical choice isn’t clear.

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"the wall," by flickr user lo747, 13 March 2008 :: via Intelligent Travel Flickr Pool

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excerpt Oktoberlost

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Anyone who has visited the Oktoberfest and seen hundreds of revellers dancing on the wooden tables, holding up their beer glasses and chanting along to DJ Ötzi’s cover version of “Hey! Baby” knows how merry the atmosphere can get.

For those who haven’t, a look at the lost and found register evokes the raucous celebrations.

Members of staff found 680 identity cards and passports, 410 wallets, 360 keys, 265 spectacles, 280 mobile phones and 80 cameras, one set of diving goggles, one set of angel’s wings, a superman costume and four wedding rings. A long-haired Dachshund was also found roaming the festival ground, but was later reclaimed by its owner.

“For the first time, no dentures were found,” the Munich city press department said with a mixture of surprise and disappointment. “Is this a sign of demographic change, good dental hygiene or a higher rate of tooth implants?”

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a kottke.org post, 7 October 2008

The high school football team in Euless, TX (population 52,900) starts their games by performing the haka, a chanting dance used to intimidating effect by New Zealand’s All Blacks rugby team. What’s odd/interesting about this is that the Maori chant was appropriated by the team’s contingent of Tongan players—whose parents moved to the town to work at DFW airport—and has led to a greater sense of acceptance of the Tongans into the larger community. How’s that for multiculturalism?

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from "Lotteries," by Jonah Lehrer (interviewing George Loewenstein), The Frontal Cortex, 15 September 2008 :: via Ben

The finding from our first study, that when you make people feel poor they play more, is especially sad since playing the lottery is on average a massively losing proposition. The propensity of low income individuals to play the lottery has the perverse effect of exacerbating their poverty. Although there are no easy solutions to the problem, one obvious one would be to cease marketing and advertising that targets the poor. It probably makes sense for the state to sell lottery tickets, because otherwise they will be sold by organized crime. However, does it really make sense for the state to be inducing, through advertising, poor people to play who wouldn’t play in the absence of such inducement?

Similarly, states could promote and offer more games that appeal to wealthier players, such as Powerball, and not those popular with poorer players, such as instant scratch-off tickets. Another obvious solution, though one that is even less likely to be implemented, would be for the state to increase the payout on the tickets, and perhaps to increase the number of moderate size prizes.

Finally, a third option would be for financial institutions to issue investment instruments that have lottery-like qualities (for example, offered in small amounts, available at many convenient points of purchase, provide a small chance of a large upside) but offer a positive rate of return, providing the pleasure of playing the lottery without the steep cost. In many other countries “prize bonds” or other savings instruments are available that pay lottery winnings in place of, or in addition to, regular interest. Regulations in the United States have stymied the development of such offerings.

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"Lifting a wounded or sick soldier," photographer unknown, from United States Sanitary Commission records (1861-1865), NYPL Digital Gallery :: via Hoefler & Frere-Jones

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The insight that culture has many different addresses, and that not every cultural good affects the same public, is the most basic form of “multiculturalism.” Multiculturalism begins with the simple observation that the cumulative, creative process of human culture has happened in widely different places, with widely different results, throughout human history.

Culture Making, p.41

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