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robertogreco : taboos   6

Animales/Animals : Dolores Dorantes And Jen Hofer : Harriet the Blog : The Poetry Foundation
"Animales
El Paso, Texas. Enero 9, 2014.1

No entiendo mi vida. No sé quién soy. Se, más o menos quién no quise ser. Como estudiante no quise alimentar el sometimiento de la academia en México. Como escritora no quise contribuir al sistema cultural machista y corrupto que predomina en mi país. Como periodista decidí hablarle a un presente. Y aquí estoy. Perdida. Esa es una buena señal, supongo. Estar perdida y hablar sola.2 Aunque en este país creo que no es bien visto. En California tampoco es mal visto. En Texas es el infierno: eso de estar perdida y hablar sola. Es increíble cómo es que han cambiado los tabúes en nuestros tiempos ¿no te parece? No es que no existan los tabúes, sólo cambian de forma. Por ejemplo, cruzar el semáforo del peatón cuando está en rojo, aquí, ya es un tabú. Me encuentro a las personas paraditas en la esquina esperando a que el semáforo cambie, con la calle desierta. Es increíble cómo lo urbano cambia nuestro transcurso ¿verdad? Pareciera que las señales son los ojos del amo. El amo. El maestro.3 ¿Quién es? ¿Dónde está? Creo que el amo está donde está la víctima. El amo reina dentro del dolor. Se ha infiltrado hasta las estructuras que quisieran cambiar el mundo uniéndose a las luchas. El amo está en la producción. Esa palabra: producir un proyecto, producir una idea, producir sociedades libres, producir comunidades que luchan por su identidad.

El amo depende de nuestra identidad. No puede hacer nada ante un mismo y repetido rostro. Por eso yo soy de color y tú eres judía, y otros más son indígenas.4 Yo no voy a dar eso. Estoy perdida. El amo depende de nuestra identidad. No puede hacer nada ante un mismo y repetido rostro. Por eso yo soy de color y tú eres judía, y otros más son indígenas. Yo no voy a dar eso. Estoy perdida. Sin dirección, no voy a ninguna parte. No quiero tener un rostro. Ya no tengo país. Pero sí, me identifico como un animal, sí. Como una mujer animal. Porque ¿acaso no soy también una contradicción? Amo, maestro, lo que no se nos dice es también una contradicción. ¿Acaso tengo que ser una sola, de color determinado, de escolaridad definida porque si no estoy muerta? Somos muchas y no, no estamos muertas. Avanzamos, sin identidad, hacia ninguna parte.

* * *

Animals
El Paso, Texas. January 9, 2014.5

I don’t understand my life. I don’t know who I am. I know, more or less, who I didn’t want to be. As a student I didn’t want to feed into the subjugation of the academy in Mexico. As a writer I didn’t want to contribute to the corrupt machista cultural system so predominant in my country. As a journalist I decided to speak directly toward a present. And here I am. Lost. That’s a good sign, I guess. To be lost and talk to myself.6 Though in this country I don’t think that goes over so well. Yet in California it’s not especially looked down on. In Texas it’s hell: to be lost and talk to oneself. It’s incredible how the taboos in our times have changed, don’t you think? It’s not that taboos don’t exist, it’s just that they’ve changed form. For example, crossing the street against the light is now taboo here. I come upon people stopped at the corner waiting for the light to change, with the street totally deserted. It’s incredible how urban space shifts our trajectory, right? It would seem as if the streetlights were the eyes of our owner. Our owner. Our master.7 Who is the master? Where is the master?8 I think the owner is where the victim is. The owner rules within pain, has infiltrated even the structures that would seek to change the world by uniting together in struggle. The owner is in production. That word: to produce a project, to produce an idea, to produce free societies, to produce communities that struggle for their identity.

The owner depends on our identity. The owner can’t do anything in the face of a face that’s always the same and repeating. That’s why I’m a person of color and you’re Jewish, and others are indigenous.9 I’m not going to to give that. I’m lost. Without direction, I go nowhere. I don’t want to have a face. I no longer have a country. But yes, I do identify as an animal, yes. As an animal woman. Because aren’t I also a contradiction? Owner, master, what is said to us is also a contradiction. Do I really have to be one single entity, of a particular color and a specific level of education because if not I’m dead? We are many and no, we’re not dead. We’re moving forward, without identity, toward nowhere."

[See also the footnotes. For example:]

"2. La escritura, me parece, es el hablar sola y el hablar en/hacia una colectividad. O varias colectividades. Es hablar al yo fuera del yo que somos (que también es el yo que somos) y es participar en una conversación a través del tiempo, la geografía, la corporalidad, extendernos hacia más allá de lo que podemos saber o entender. Creo que el estar perdida es el estar abierta. ¿Encontrarte es una manera de cerrarte? Definición."

"6. Writing, it seems to me, is talking to ourselves and talking in/toward a collectivity. Or various collectivities. It’s talking to the I outside the I we are (which is also the I we are) and it’s participating in a conversation across time, geography, corporeality, extending ourselves beyond what we can know or understand. I think that being lost is being open. To find yourself is a way of closing yourself? Definition."

[via: https://twitter.com/felipsiswoof/status/571340666707378177 ]
via:felipemartinez  2014  poetry  doloresdorantes  jenhofer  identity  animals  taboos  ownership  california  texas  culture  patriarchy  journalism  subjugation  lost  self-knowledge  collectivism  openness 
february 2015 by robertogreco
Watching football after a traumatic brain injury — The Message — Medium
"I still watch football; I still drink Coca-Cola. I do these things in bad faith. I do them because they are ubiquitous; I do them because I do not know what I would do, if I did not. I do not know who I would be.

But any of these things could change tomorrow — and I have to confess, I don’t know how I would feel if they did. Cheated? Grateful?

Nothing is inevitable. Not even the NFL. Today it is a perfect machine of violence, spectacle, intrigue, and entertainment; today it is boxing, cigarettes, and Coca-Cola combined. Tomorrow it could be reduced to a fraction of itself, something at the periphery, a familiar scent in the air. Will our children even remember what it was like?"
2015  timcarmody  americanfootball  health  cigarettes  smoking  soda  football  culture  brain  change  taboos  nfl  sports 
february 2015 by robertogreco
29. You Will Learn the Meaning of Muzombo — Why 2015 Won’t Suck — Medium
"This December, in the Democratic Republic of Congo, chiefs from the Lega tribe, on their own initiative, came to Bukavu from their villages, hours away, to express their decision to set up new traditional laws not only against sexual violence and rape but also forbidding early marriage for girls, forced sororate or levirate marriages (when a young girl is married to the brother of her deceased husband), child labor and privileging boys’ education while keeping girls uneducated. They are setting those acts as taboos, locally known as “Muzombo,” which entitle any offender to the most severe punishment in the community. Any offense will be thoroughly investigated at the traditional level, and seriously punished.

The crisis of sexual violence in the Congo and the use of rape as a weapon of mass destruction, against which we have been fighting for the last 16 years, remains. But we are hopeful now that nations worldwide seem to be rising to the issue and deciding to engage. In June, the British government hosted a Summit to End Sexual Violence in Conflict in London. One hundred fifty nations represented by their ministers of foreign affairs took a stand against sexual violence with a unified resolution. Barack Obama signed an executive order to freeze the assets of all criminals and their accomplices who commit or have committed crimes in the Congo. Those diverse engagements, from the highest positioned leaders to the common citizen in the society, give us hope for the year 2015."
congo  drc  2015  muzombo  violence  denismukwege  sexualviolence  rape  women  girls  taboos  gender 
january 2015 by robertogreco
The Deliberate Practice of Disruption
"This model is an accurate one in descriptive terms, but a terrible one in normative terms. So let me propose a highly prejudiced contrarian reading of what Csikszentmihalyi is describing.

What we have here is a closed boundary defined by a symbolic domain (rather than raw, unmediated reality), within which there are awestruck beginners and awe-inspiring experts. Expert performance is primarily a beautiful feeling that is derived not from the effects of the performance itself, but from the integration of metacognition and cognition into an internal superego. An inner [Tiger-] parental spectator that supervises performance according to an external standard of error-free perfection, and rewards you psychologically to the extent that you meet that standard. The performance is necessarily an incremental push beyond the edge, where received standards of performance and aesthetics can be reliably extrapolated. You cannot apply standards of violin performance if you suddenly decide to use your violin as a bat in an improvised game of softball (a profane use of a violin that is nevertheless physically possible).

In short, this is sustaining innovation driven by groupthink, divorced from reality by an internal language of symbols, and limited to what doesn’t violate sacred standards of quality or prevailing aesthetic sensibilities. As determined by honored retirees whose expertise is beyond doubt.

The reward for such metacognition is in fact the subjective state of flow: a regime of behavioral sacredness that is valued for its own sake rather than for its effects, and which is rewarded in social ways.

Disruptive Metacognition: Finding Ugly Awkwardness

It’s easy to get to the broader notion of deliberate practice. The base layer is still the same. You’re still practicing the skill for 10,000 hours.

It’s the metacognition that is different. Instead of finding creative flow, you seek out ugly awkwardness that nevertheless intrigues and tempts you. You figure out what feels uncomfortable and “wrong” in some sense, but also alluring, and figure out why. There are no judges to tell you if you’re right. There are no aesthetic standards to internalize. There are no performance standards other than what you’ve yourself done before or the behaviors of people you choose to imitate because you can’t think of anything yourself.

And most importantly, there is no clear understanding of whether variation from your own past behavior or others’ behaviors should be considered error or innovation."



"So disruptive metacognition is irreverent and transgressive. It does not respect received sacred/profane distinctions. It does not justify extended practice on the basis of “pay your dues” but as a means of exploration. It does not seek flow as an end in itself, divorced from the effects of performance. While sustaining metacognition can be whimsical in an approved way, it cannot be offensively playful in the sense of irreverently crossing the boundary separating sacred and profane. Only disruptive metacognition can do that.

If the reward for effective sustaining metacognition is a sense of your own inner sacredness, experienced as flow, the reward for effective disruptive metacognition is a sense of snowballing absurdity and paradox that miraculously does not unravel. Effective awkwardness that inspires irreverent laughter rather than reverent awe. Instead of approval from honored figures, you get the slightly vicious pleasures of desecration.

While it is possible to do this all this in closed worlds of performance, it takes a kind of sociopathy to ignore expert tastes (or refined customer/audience tastes) and willingness to suffer being punished for being genuinely innovative (customers of cultural products punish straying performers much more than other kinds of customers). This is why early rockers shocked classical musical purists by burning or smashing guitars. Of course, you can also shock aging rockers’ sense of the sacred by not being outrageous (“kids today, they have no rebellion in them!”)."



"The bad news is that success still depends on repeating some skilled behavior in roughly the 10,000 hour range, at “good enough” levels, before you’ll start stumbling across mutations that are both good and haven’t been spotted and explored before. This is why “good ideas” that beginners come up with, even if actually good, aren’t worth much. They lack the behavioral base to actually go down the bunny trail opened up by the idea. The have the idea, but not the idea maze. The genetic mutation without the protein synthesis machinery.

But if you do have the disruptive deliberate practice under your belt you can, well, be disruptive.

If you know the basics of disruption theory, you know it involves attacking a market from a marginal niche. I won’t rehash that. But I will state what might be a new point. What’s disruptive about disruption is that it violates a prevailing sense of the sacred with irreverent profanity.

A disruptor attacks a saintly mindset rather than a market. A mindset that holds certain performance standards and aesthetic considerations to be sacred, and is blind to the potential of what it considers profane. The disruptor wins by being mediocre where it is a sacred duty to be exceptional, and embracing profanity where saints are blinded by their own taboos."
venkateshrao  flow  disruption  2014  metacognition  conservatism  establishment  closedworlds  disciplines  practice  taboos  mindset  change  mutations  openworlds  gatekeepers  cv  aekwardness  mavericks  sociopathy  rewards  motivation  social  groupthink  sacredness  performance 
june 2014 by robertogreco
acts of Frankenstein | the m john harrison blog
"Brutalise all plans & conceptions. Lose patience with last 10 years of ideas, now seen as prison. Bolt wrong components to wrong components! Sustained acts of Frankenstein & self-piracy! Address current emotional issues not 5 year old ones! New observations/notes; new philosophical/political insight; new structural problems/solutions. New imagery. Sense of adventure. Sense of risk in the material. Explore & affront your hopes for yourself. Glee at breaking own definitions & taboos. Carnage in the files. Parameters missing at the outset may be the things that writing will show you. In the end you have to get frightened enough to push down the pillars of your own establishment."
examinedlife  progressivism  progressive  deschooling  unschooling  perspective  self-examination  criticalthinking  mindchanging  mindchanges  notetaking  observations  observation  frankenstein  rebirth  establishment  disestablishment  fear  writing  radicalism  taboos  challenge  change  freedom  self-piracy  exploration  risk  2012  via:robinsonmeyer  yearoff  cv  shaking  canon  mjohnharrison 
december 2012 by robertogreco
Georges Bataille : Literature And Evil - YouTube
"The only TV interview that exists with Georges Bataille (1958). About his book Literature And Evil. Interviewer: Pierre Dumayet."

[via: http://consumptive.org/about/ ]
taboos  baudelaire  kafka  interviews  guilt  1958  evil  literatureandevil  georgesbataille  storytelling  literature  writing 
february 2012 by robertogreco

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