Friday, January 23, 2015

You know Five Points? [in Atlanta] It's like being at Broad & Chestnut in Philadelphia

here via  https://www.google.com/search?q=delicious+chestnut+%22french+px%22&biw=1116&bih=631&source=lnms&sa=X&ei=yL3CVOOFNYmigwT7uIDgBQ&ved=0CAUQ_AUoAA&dpr=1.09



/trying to find, no luck, those chesnut ~ mousse cups from french px in Berlin.

anyway this int:



Inglesby, Sr., Leo C.



JG:  Do you want to tell us where you were when Pearl Harbor was attacked?
LI:  We were in Atlanta.  My friend and I were in Atlanta, and having breakfast
at Miner and Carter's Drug Store at Five Points, downtown
Atlanta.  Have you been to Atlanta?
JG:  Yeah, I have been to Five Points.
LI:  You know Five Points?  Miner and Carter's Drug Store there?  It might not
even be still there, it's right in the center.  It's like being at Broad
and Chestnut in Philadelphia or Times Square in New York.  I'm in
there, having breakfast at the bar, the girls said, "Did you hear Japs
bombed Pearl Harbor?"  "Why the hell did they do that?"

César Vallejo - It’s Very Severe To Suffer

stridemagazine.co.uk/2006/Oct 2006/avallejoReviewMacEochaidh.htm
It’s Very Severe To Suffer


With Vallejo's verse you enter an internal, private space.
The reader is immersed in a mind struggling with its own terms, symbols and
meaning. The external is immediately the internal
, as in poem 'LXXVII' from Trilce
: -

     May this rain  never dry up.   //// rain rain.  / oh e: old man  raina poura
     Unless it  were now given me
     to fall for it, or unless they would bury me
     drenched in the water



//  rain / Edward Thomas    ...     / ~ and Joyce the snow falling .  on the living, and on the dead. /

Rain, midnight rain, nothing but the wild rain
On this bleak hut, and solitude, and me
Remembering again that I shall die
And neither hear the rain nor give it thanks  /
For washing me cleaner than I have been
Since I was born into this solitude.  /
Blessed are the dead that the rain rains upon:  / beatitudes blessed are the
But here I pray that none whom once I loved  /
Is dying to-night or lying still awake  /
Solitary, listening to the rain,   /
Either in pain or thus in sympathy /
Helpless among the living and the dead,  /
Like a cold water among broken reeds, /
Myriads of broken reeds all still and stiff,  /
Like me who have no love which this wild rain  /
Has not dissolved except the love of death,   /
If love it be towards what is perfect and
Cannot, the tempest tells me, disappoint.  
} // Auden in praise of limestone.  but it is this, this.* 

/it all.  my

// think of these last lines but forget fr Edw Thms.  thinking was Auden " and cannot, _ _ _ _, disappoint."

Auden re landscape of limestone.  love only as (unchanging, unforgiving, unyielding ~ impassive)

yes, would conflate,  bcs Modern British Poetry 1996 first paper evenings in library Edward Thomas notes in notebook.  second paper weekend in Modesto all In Praise of Limestone.   

 * and further echo:   ?  "but it was this, this ~crime ~ among the living
I'm trying to remember something. 

...... Pinsky angels braiding (Privilege of Being).  Hass but I remember so much. Meditation at Lagunitas.  no. it is not these.  this, this keening among the living /really thought for a moment it was Pinsky./  //ahhhhhhh!  come on, that it took me this long.  maybe my most my. fr dupont, corkboard upstairs in cafe club? 1995? (w gabi, miles?) Menagerie  this, this miracle among the animals
 menagerie giraffe weeping   SO NEAR TO WAKING: MENAGERIE  -  allyacker.blogspot.com/2007/02/menagerie.html:
One morning you awaken too early and the animals are there sleeping peacefully
all around you. The hyena. The giraffe with his head cocked petulantly
on the lap of the hyena. And you wonder if they've been here all of your life,
dozing in the wake of a thousand moons, a thousand crimes
that you didn't have stomach enough to commit --

although it would mean this, this miracle among the souls of animals.
And you. You with sheen before your eyes that so blinds you from their fine-ness.
Finesse, they say, is a matter of competence

without ego. Hold me like flowers in the moon,
says the giraffe. You're not sure whether he's speaking to the hyena or to you
so you pretend not to hear him. This pretense goes on and on for years

until you have convinced yourself that the giraffe and the hyena
are not really there at all. Your denial is so complete
it is like an announcement to the world.

.. one night you hear .. nside of you say,
Phfaww! Action. Action is the only thing of any consequence!
It is the first voice in all the world, and it breaks the eggshell
of quiet. The sound shatters the sheen from your eyes
with astonishing effortlessness.

Suddenly there is a giraffe weeping like a flower in the moon.
You gather the giraffe like a bouquet of your own neglect. And you rock it.
You rock it . 






 -

 Vallejo.  Thomas.  rain.  cannot, _ _ _ _, disappoint.    ...limestone. 


... and Gerard Manley Hopkins  no worst there is none cliffs of sheer fall hold them cheap they who n'er hung there


an extract from the  moving prose poem, 'I Am Going to Speak of Hope':
I do not suffer this pain as César Vallejo. I do not hurt now as an artist, as a man or even as a mere living being. I do not suffer this pain as a Catholic, as a Muslim, nor as an atheist. Today I simply suffer. Were my name not César Vallejo, I would suffer this same pain. Were I not an artist I would suffer it. Were I not a man or even a living being, I would still suffer it. Were I not Catholic, atheist, Muslim, I would still suffer it. Today I suffer from deep down. Today I simply suffer.


'Alfonso, You are Looking at Me, I See':  
     and I still suffer, but you will no more, brother, never again!


the ultimate fall in Vallejo work, the fall that haunts a major corpus of his work, is that of
Republican Spain. This defeat of an ideal, a bid for Utopia, provides a platform for so much of Vallejo's most agonised and complex verse.
if night falls, 

if the sky fits inside two earthly limbos;
if there's noise in the sound of doors,
if I'm late,

if you see no one, if you are frightened
by the tipless pencils /hm/, if mother
Spain falls - it's a mere saying -
go out, children of the world, go look for her!
  [from 'Spain, Let This Cup Pass from Me']



//// still to fully read:
stridemagazine.co.uk/2006/Oct 2006/avallejoReviewMacEochaidh.htm
It’s Very Severe To Suffer
-

Sunday, January 18, 2015

The Wire "Well who said I did?"

The Wire  "Well who said I did?"   //line to mind 1/18/2015



http://www.hoodedutilitarian.com/2011/03/the-wire-roundtable-season-1-episode-1-again

// I seem to like this post.  and cmmts by its author.  Noah Berlantsky.
main pnts of cnntn in cmmt discussn are
-----re McNulty   ~ more int if played out more in line w his s1e1 cmmt "Who says I did?"  =  if just did not care (at all, not only - as is true - not caring in re a moral ideal, a hope of justice)
-----re Wallace   show d n play on any resonance btw  here s1e1 scene of Wallace participating w Bodie & Poot brutally beating Johnny on D'Angelo's orders,  and later   Wallace being broken by his role in and sight of beaten-to-death Brandon //


Noah [in post]:  Rewatching doesn’t always add layers. Sometimes it points out roads not taken which might have been better explored.
One of my favorite moments from the first episode occurs a little later, after D’Angelo Barksdale has beaten the murder rap. The judge in the case calls in McNulty to find out (a) why a key witness changed her story, and (b) why McNulty was in court, since it wasn’t his case. McNulty explains to the judge that D’Angelo is the nephew of the current West Baltimore drug kingpin. The gang has beaten a number of cases in court, including a past case of McNulty’s. The judge finally asks, “If it’s not your case, why do you care?” To which McNulty replies, “Well who said I did?”  Again, that’s one of my favorite lines of dialogue probably from the series: McNulty (Dominick West) sells it nicely, looking flat at the judge, with an expression somewhere between slightly amused and blandly unconcerned.  / even ~insouciant. / The point is emphasized later when McNulty chews out his partner Bunk for picking up the phone on a murder call when another squad was up. “This’ll teach you to give a fuck when it ain’t your turn to give a fuck!” he says.
The point here for rewatching /specifically on rewatch, that is/, of course, is that McNulty actually does give a fuck — way, way too much of a fuck as it turns out. He cares so much that, over the course of five seasons, he destroys his marriage, his career, and almost/maybe a second committed romantic relationship.  Which is all well and good as irony goes. /well, I don't know ~ don't know that th moment is ironic in retrospect or just same as on first viewing: ~ a character beat  ? that there is a sense in wh he does not care?  or could choose not to./   But the thing is, I liked it the first time through better.  David Simon on the voice over natters on incessantly about how different the Wire is from other television cop shows — and it is different in many ways. McNulty doesn’t really care about doing right, for example, as he would if he were on, say, [whtvr]. //wh is how I am thinking that line plays. "who says I care?"  d n care in the way of an idealist, about it *being wrong*; he cares that they are getting one over. that the police thus incl him are being outplayed.//  He cares about being the smartest guy in the room and about being smarter than the crooks /y./ . It’s not about good and evil for him; it’s about ego. Which is a useful corrective to a lot of cop-show nonsense, as Simon says.  But whatever he cares about, the point is that he does, and that is not especially new in a cop protagonist, on television or elsewhere.  There was something really refreshing for me about having our hero declare, boldly and apparently in earnest, that it really was nothing in particular to him if the West Baltimore drug gang beat murder number four, or twelve, or whatever. I kind of like that potential McNulty, that callous decoy McNulty, more than I like the funny, smart, but ultimately perhaps more predictable McNulty that we got.   //well so I guess seems to me not a decoy. it actually is nothing in particular to him how terrible the crimes are, and that there fails to be justice.  he does not care = enact moral idealism.   wh I take it noah agrees w, but thinks it still wld play more interestingly if he was all around uncaring about it, rather than caring competitively egoistically.  ~okay.   I may be w Simon on this, that int here for ~protagonist  to have an investment, but not a noble one. not heroic. not moral. /



-Toby: Simon is absolutely right that McNulty is different. The ego about being the smartest guy in the room rather than being Holy-er Than Thou is very important.



-Noah:    Well, I said McNulty was somewhat different from the normal tv show cop. But is he that different from Philip Marlowe? If you broaden your scope just slightly, he doesn’t look all that different.


-Jason: That’s an interesting comparison, Noah, and I’m not sure you’re entirely wrong about McNulty, but it seems to me that here you’ve broadened your scope in a way that actually excludes McNulty. Philip Marlowe is very much outside the system, not a part of it, which is a crucial element of McNulty. Put another way, cops might beat on Marlowe, but even cops that don’t like McNulty would kick the shit out of a street kid who tried to take a swing at him. I think that’s an important difference.  /y. good pnt./



-Jones:  Noah, you’re right that McNulty is ultimately something of a conventional character — the alcoholic, over-working cop who plays by his own rules! But the show needs him to care about something, at least in the first season,.. Nobody in the unit, or higher up in the dept, cares at all about this “shit detail”. So you need *someone* to push the investigation further.


-Noah:  Or to expand a little, you could have a show in which the special detail accomplishes nothing in particular, but just sort of stumbles along. That would probably be more realistic in some sense. The show has a need for drama; McNulty serves that need. There’s a suggestion there in the first episode, though, that he might not. It’s an intriguing idea; the second time through, you can see that it never pans out that way, which it seems to me is kind of a loss.


-Jones:  Well, by the end of the first season, the special detail *hasn’t* actually accomplished anything except to shuffle around some of the drug players, get Wallace killed, and (at least temporarily) torpedo the careers of McNulty and Daniels. (Am I forgetting anything?)
The same goes for pretty much all the seasons. A couple of people go to jail, a couple of people get killed, careers go up or down but the game remains the same.
-Plus, it’s important that the unit seem to make progress early on, for two reasons:
(1) the show’s overall critique of law enforcement policy overall, and drug enforcement in particular, would have less bite if policing were shown to be (practically) useless right from the start.  ..
The endings of seasons 1-3 are so bitter precisely because there’s been a lot of *good* policework done, and it still hasn’t made much of a difference.. Having the unit be more hapless would remove some of the sting, I think and leave the viewer in complacent assumption that actual good policework could do more, without the need for institutional change.
2) The show was a hard enough sell already:   Why is the dialogue so opaque?  Why is the plot so complicated? Why are there so many important characters?  Framing the show as a somewhat conventional police procedural, where cops tie together clues to solve mysteries, at least gives viewers some kind of hook at the start. Over the first season, you realise that it’s not really a procedural — not primarily at any rate — but by then you’re probably already interested enough to stick with it. If it had been a Beckettian display of futility right from the start, no one would have watched it.  As opposed to almost no one.


-Noah: .. I actually enjoy McNulty’s performance overall. The cop I never believed was Freamon. He just seemed too good to be true.  and I never believed the acting.  I just realized that it’s a part you could imagine Morgan Freeman playing, which is not good.   /heh, int, right, bcs means ~ too  well  too what?  d n only play good guys.  but plays ~ archtypes?/   I really liked Stringer as a character though. And I thought it was pretty interesting that Stringer participates in Brandon’s murder, the one murder he does directly participate in, right? I think that’s pretty clearly linked to homophobia — which works nicely against the fact that his most intense personal relationship is with Avon.  /int, v good cnnxn.




/ .. few int cmmts re Lester  w &  Shardene .. /
-Noah:  Jeez, everybody hates Shardene. The Freamon/Shardene romance was the thing about his character I liked the best. I don’t really buy that it’s an abuse of power; she’s grown up and seems pretty much able to take care of herself. He’s solicitous and sweet; why shouldn’t she find him appealing? It’s one of the few relationships on the show that isn’t fucked up.
And her info actually was quite important; she told them where the office was, which allowed them to put it under observation, which allowed them to bust D’Angelo and Avon as well



________________________________________________

Noah [in post]:  
Wallace’s execution is perhaps the grimmest, most emotionally wrenching moment of the entire season. In retrospect, his character is almost as important as D’Angelo’s. And, as a result, the second time through this scene of the beating should be telling us something, not only about D’Angelo, but also about Wallace. The Wallace we know later is so upset by brutality that he first becomes an addict and then turns his crew in to the police. /y./ The Wallace here, on the other hand, is so comfortable with brutality that he enthusiastically joins in beating a young man almost to death.
The point isn’t that the characterization is inconsistent. People are capable of different levels of brutality at different times, and there is, after all, a line between “beaten almost to death” and “beaten to death.” /y./  Still, if you’re going to talk about that line, you probably do in fact need to talk about it, and the Wire doesn’t. For that matter, Simon doesn’t mention it in his voice over. Rewatching here doesn’t so much add resonance as reveal that there isn’t any. The creators didn’t link what Wallace does here to what Wallace does later. As a result the the possible connections just sit there, looking a little lost.

- Alex: Isn’t this, though, the original sin of all popular episodic art– making it up as one goes along, and having to reconcile past and present in retrospect?   ... The same applies, of course, to serialised comics. Though a few cartoonists, notably Chris Ware and Chester Brown, are willing to redact their once-serialised stuff...

-Noah:  Yes, it’s definitely the result of serialization — and probably inevitable. At the same time, I think there’s a tendency with The Wire (promoted by Simon) since it is so complicated and much is thought through, to presume that everything is thought through. It’s worth pointing out that there are holes, I think.  /yes. does seem Sion promotes that tendency, and so invites us noticing where show does not live up to being so fully evidently thought through. playing out the resonances./


-Jones: Still on Wallace:  .. The show doesn’t explicitly link the two reactions, but  .. (4) I don’t know what it would mean for a show to “think about” the difference, or to think about anything, for that matter.

-Noah:  A work thinking about its themes is a fairly common metaphor. It just means that it thematizes material, or addresses it, or does something with it. The show does nothing [with] .. and doesn’t appear to be aware that there should /could/  be a link between what Wallace does in that first episode and the kind of person he’s shown to be later. You can fill in all sorts of reasons or explanations for why that’s so, or for what the differences might be, or for why Wallace behaves one way in the first situation and another in the second. ...There’s nothing wrong with that; thinking about why the first situation is different from the second and why Wallace’s reactions were different is interesting.  But it’s not something that the show spends any time on.  It prefers to hammer home the much less interesting, and repeatedly hammered home point, that D’Angelo is uncomfortable with the street.  /y I see that./  In other words, it spends time belaboring the obvious characterization without thinking about (there it is again) the more subtle and complicated one.  I find that disappointing.
I suspect the reason is, hey, it’s a tv show. Which is fine. But doesn’t make it less disappointing, really.


-Noah:  I don’t think that there’s no way you can make the character consistent. I just don’t think that the show does much with that first incident. It isn’t referenced again; it’s not discussed in the voice over; it’s just not integrated into the character by the show (though you can obviously do the work yourself).







~
-Jen: You may not like something they did, but it is all based on 100% reality. That is why the show works. If they started making shit up somewhere it would stop being realistic. Calling someone unrealistic in The Wire, is not understanding reality.
-Noah: Oh, come on. The show is fiction; it’s not reported. There are many things on the show that are heightened or tweaked. People involved in the drug trade have said the show gets various things wrong — from the level of insubordination allowed to the number of women involved (too few.) I’ve talked to people who have worked as cops who find things about the cops dicey; I’ve talked to people who have worked in inner city schools who find those portrayals dicey.  The idea that the Wire is some kind of unmediated Truth is an insult to all the actors and creators who made a really quite wonderful piece of fiction.
-Jen, this is silly. If you think the Wire is perfect in every way, that’s cool. Go with God.



-

Thursday, January 8, 2015

annotation - web

-
https://www.academia.edu/10015492/Knowledge_Annotation_Making_Implicit_Knowledge_Explicit
added byAlexiei Dingli University of Malta, Department of Intelligent Computer Systems, Faculty Member
-------

Abstract:

Did you ever read something on /in? int. *on* a book, screen, sign, cereal box, printout, *on* a newspaper - broadsheet, *on* a magazine,  (and I annotate all of those!)//  a book, felt the need to comment, took up a pencil and scribbled something on the books' text'? If you did, you just annotated a book.
That process has now become something fundamental and revolutionary in these days of computing.
Annotation is all about adding further information to text, pictures, movies, even to physical objects. In practice, anything which can be identified either virtually or physically can be annotated.
In this book, we will delve into what /?/ makes /? defines? or actually makes, enacts/ annotations, and analyse their significance /import?/ for the future evolutions of the web. We will explain why it was thought to be unreasonable /unreasonable? int/     to annotate documents manually and how Web 2.0 is making us rethink our beliefs. We will have a look at tools which make use of Artificial Intelligence techniques to support people in the annotation task. Behind these tools, there exists an important property of the web known as redundancy /LOOK UP crowd?/; we will explain what it is and show how it can be exploited. Finally we will gaze into the crystal ball and see what we might expect to see in the future.  // ...'future studies' //
Until people understand what the web is all about and *its grounding in annotation* /y. hypertext!  you-can-get-anywhere-from-here link-to-link text sites like what was that called ~ the bordem/, people cannot start appreciating it /arguable, right?/. And until they do so, they cannot start creating the web of the future /again arguable, made this present web of the former future [LOOK UP is this web 3.0? 4.0? or still 2.0? read-write. what is working definition of these web ~ moments?] now: visual infinite scrolling, social network logins across sites - ggl, fbk, discus.//
Research Interests: 
-------

* y I v m like to think re grounded in annotation.  is that arguable? or straight forward?  hyperlink is basic.  is building block ~ not base?  or ~ defining of web [digital, computing] is that the building block IS the base?  if hypertext is not the ground of the internet, what wld we say is? 


-

LBS - The Black Book: Reflections From The Baltimore Grassroots


-
-

The Black Book: Reflections From The Baltimore Grassroots
Lawrence Grandpre and Dayvon Love
Leaders of a Beautiful Struggle 2014

Introduction
Section 1:
- Anti-Blackness as an Independent Political System-16  /(white supremacy)
- Pan Afrikan Nationalism Defined 31   /defined. good.
- The Negrophobia/Negrophilia Paradox and Liberal Academic White Supremacy-56   // in the liberal University *  in the talk of multiculturalism and against racism, what is implicit
Non-Profit Industrial Complex in Baltimore 126    // in the liberal non profit *
- Spectacular Blackness 161    // ? int.  
Section 2:
- Fighting the Youth Jail 175  // in Md.  success? vs jail for youth convicted as adults (rather th in juvenile facilities?)
- Passing Christopher’s  Law 193  // success in passing? ~  requires cultural sensitivity training police etc 
- Conclusion: On Interracial Coalitions and Next Steps  201
- Key Reflections-214


We offer a perspective that is often shut out by mainstream political discussions and by academia, because it questions the very structures that have become essential building blocks for civil society.
We are making assertions that many people in mainstream political positions refuse to say, since their employment and consequent abilityto move up inthe professional world rests on keeping these truths out of the public domain.
As grassroots activists, we are committed to building authentic community power, without chasing grants or being in good favor with established institutions.
Our stance has made it difficult to sustain the work that we do, but because we hold no allegiances, we are able to say the things that you will read here.
This text is a part of the New Timbuktu Project, a thoroughly independent, alternative learning community of activists, citizen scholars, and professional academics that fosters dialogue centered on the heart of the issues that undermine the livelihoods of Black people. To sustain that community, we channel the wisdom of our ancestors and our elders and apply it to contemporary socio-political issues. Reorienting scholarship from the academy to the lived realities of Black life in America will produce material benefits for Black people. As activists scholars, we see ourselves as functioning within a lineage of Black intellectuals who realized that the division between the "college bubble" and "the real world" is illusory and counterproductive. Instead, this text pulls from our experience doing activist work in the Baltimore community and our academic experiences in the world of intercollegiate policy debate to bring unique perspectives to both activism and academia

Though we direct our text to people who have already engaged issues of racism and Black liberation, we are looking beyond an academic audience. Lawrence and I are grassroots activists whose background in collegiate policy debate gave us the skills and intellectual rigor to engage high-level academic material. This has been an integral part to the method & strategy in building Leaders of a Beautiful Struggle.
.. of the engagement with the intellectual ideas in this book happened in the context of competitive policy debate, which in turn birthed Leaders of a Beautiful Struggle (LBS). LBS was founded in 2010 by former policy debaters who are also alumnae of the Baltimore Urban Debate League.   .. New innovations in debate included the use of the scholarly works of Black scholars that were previously not used in debate, the incorporation of poetry/hip hop, and the use of performance in the presentation of debate arguments. These innovations were important challenges to the overwhelmingly white male-privileged activity that often perpetuated the invisibility of white supremacy that is so commonplace in our society.  ..

Lawrence and I are a combination of Pan-Afrikan nationalist and Afro-pessimist.
I [Dayvon Love]  am more of a Pan-Afrikan nationalist
Lawrence [Grandpre]  is more of a Afro-pessimist
This balance grounds our experience in the lives & experiences of Black people.

Pan-Afrikan nationalism—support of global self-determination for people of African descent.

Afro-Pessimist—inquiry into Black life predicated on the idea that American civil society is fundamentally organized on the structural positioning of the slave —contends that civil society is fundamentally structured / on Anti-Blackness /  in opposition  to Blackness and Black people.





We are carving out a political space where the notion of Black self-determination is not imbued with the baggage loaded onto terms like "black power",  predicated on the claim that
//key claim// the development of independent Black institutions is essential for Black liberation.

We can no longer rely on white people's benevolence and goodwill to uplift our people. We must build our own power, so that we can engage in the political arena from a position of strength.

Is our focus on Black self-determination too myopic? ... For instance, according to the mission posted on its official website, the NAACP says that it fights for social justice for all Americans. This is an organization that many people think of as being accountable to Black people, but its mission implies otherwise. This is not to pick on the NAACP, but to demonstrate how Black institutions have an unspoken imperative to speak broadly about issues of justice, instead of specifically about our issues.
We are allies in the struggle for freedom and liberation for other oppressed groups, but we engage this broader struggle against white supremacy and US imperialism from the position of strict advocacy for independent Black institutions. We speak int his text as Black people who have the right and responsibility to represent ourselves and our own interests.


Following the introduction, this text consists of two sections. The first contains the political theories and commentary that guide our work; the second, reflections on the specific work that we have done here in Baltimore, applying some of the ideas in the first section.
Both sections flow from the assumption of race literacy on the readers'parts. 


RACE LITERACY
Ourposi+onisthattheliteracyonissuesof race in America is so lowthat it keeps otherwise smart people fromhavingsubstan+veconversa+ons.

// absence of bigotry is not absence of racism (nor vice versa) //
Forinstance,racism and bigotry are not synonymous. Racism is the combina+on of prejudice and power. Historically, white people's individual bigotry did not create the wretched condi+ons that oppressed Black people; rather, those people established ins+tu+ons that wielded material and existen+al power to opera+onalize white supremacist ideology over the lives of Black people.

racism is not about being mean;
racial jus+ce is not about people being nice to people of other races;  
  ____Liking Black people is not racial jus+ce.

[rather ] racism is about the power that white people have developed through their exploita+on of Black people and other people of color. 
[Racial justice] seeks and results in equitable distribu+on of power so that Black people and others are not reliant on the benevolence of white people in order to ensure our own qualityoflife.  
____ Relinquishing resources to Black organiza+ons to empower the community is racial jus+ce.

It does not matter if white people hate Black people if we have the ins+tu+ons to protect ourselves from assaults on our humanity and can maintain our own quality of life.


// effects-based definition > inten+on-based defini+on  of racism //
Racism is also commonly understood as describing a person's inten+ons. [versus effects of ~ power structures.  policies.] We are taught to see racismas character flawthat is only corrected when people stop intentionally being mean and stop hating Black people. This notion oversimplifies racism as centered around bias and bigotry and takes the conversa+on away from understanding power, the prac+cal effects of a given set of policies or behaviors.

For instance, if Iwere to say that the financial industry is racist, you might ask me to prove that there is a collec+ve inten+on to harm Black people by the financial industry.  //right.//
 Such a challenge cannot be met. Instead, Iwould focus on the racial effects that certain policies have.
A 2008 study done by the NAACP showsthat Blackpeopleweremorelikelytoget subprime loans than their white counterparts. This places a financial burden on Black people that has the effect of giving white people greater access to wealth. Houses are a huge source of wealth genera+on and having less access to home ownership puts us at a severe disadvantage in the marketplace. While Icould not point to an individual or group of people who overtly intended to being racist, the financial industry itself has racialized effects that dispropor+onately hurt Black people.
The inten+on-based defini+on of racismwould exclude the important conversa+on about Black people having more barriers to wealth development than our white counterparts.
Therefore, only an effects-based defini+on gives us the lens through which we can comprehensively analyze [the]
visible inequali+es so that we can develop concrete effec+ve solu+ons.


meaning of 'RACE'
Having defined racism    [   =  the power that white people have developed through their exploita+on of Black people and other people of color.  ]  we now look at the contexts in which people invoke "race" where other terms are more accurate.
Race is often used interchangeably with ethnicity,  na+onality and  culture,when each term is dis+nct fromtheothers.
//ok good. clarify race vs ethnicity. // ....ok race marked by physical espclly skin color.  ethnicity shared hist & geogr.  //
For our purposes,
race refers to a marker of iden+ty that is based on skin color and other physical characteris+cs
na+onality =  a marker of iden+ty shared by people with the same legal rela+onship to an established state /good,/
ethnicity = a people group with a shared history and geography;
and culture = the totality of thought and prac+ces that cons+tutes a lens through which a people group interprets and navigates the world.
All four concepts are related but have different meanings and histories.

Because race as constructed in America was used by European colonizers to categorize other racial groups as inferior, thereby jus+fying those groups' oppression,
the no+on of "not seeing race"isanobleidea.
Buttheidea that one should not see culture isdifferent. Would we ask Chinese people to giveup their language, cuisine and their customs so that we can all be the same? I don't think so.
People have a right to their own cultural tradi+ons, and the celebra+on of one's own culture does not denigrate anyone else.
You can be proud of your culture without putting down someone else's.
This is why it is important to be precise about the terms we use when we are discussing issues of race. Imprecisely using aforemen+oned terms produces misunderstandings that undermine the development of race literacy.  /yes./



B e l o w a r e a f e w g e n e r a l c o n c e p t s t h a t wi l l b e r e c u r r i n g t h e m e s throughout the book.

African/Black - There is an ongoing conversa+on about how people of African descent in America should iden+fy ourselves. Certain scholars & ideological posi+ons place a great deal of importance on whether we call ourselves "Africans" or "Black."
Those who insist on using "African" often do so to emphasize the importance of our African heritage as the star+ng point and framework for interpre+ng our existence in America.
Cri+cs of that viewpoint say that it roman+cizes African culture and obscures the culture we have produced here inthe US.
Those who insist calling ourselves "Black" do so to stress that the Middle Passage stripped us of our African culture and resulted inthe crea+on of a different culture.
Inthis text, we will use bothtermsinterchangeably.
Wewillarguethat Black people in the US should relate to ancient Africa the same way that Europeans relate to ancient Greece.  //good.  very good. //   We have a dis+nct culture here as Black people, but we are a part of the larger African diaspora that shares a historical legacy.


African-Centered - Denotes a broad field of scholarship that emphasizes the intellectual & cultural resources found in the study of ancient African civiliza+ons. This is a paradigm thatis not often represented in mainstream academic conversa+ons, but is a core component of our intellectual framework for this book. / see above re New Timbuktu: To sustain that community, we channel the wisdom of our ancestors and our elders and apply it to contemporary socio-political issues. /


Black Na+onalism/Pan-African Na+onalism - Used interchangeably to refer to the idea that Black people should control the economic, poli+cal, and social ins+tu+ons in our communi+es.   //okay. I am ignorant here, might hv tht meant idea of building a (separate) Black state  ~  I guess the sense is of that, not a state, but institutions that are separate, own?



Anti-Blackness - Describes the politcal system which has been produced  *via*    the global tendency to associate Blackness with nega+ve characteris+cs, and specifically within the American outlook on Blackness as a "zero-point" of slavery and nega+vity. We pull from the work of Frank Wilderson, who argues that, since the Arab slave trade during the 11th century, a global system has emerged to define Black/African people as subhuman, con+nuing through today to produce racial dispari+es unique to the Black community. /yes.

Racism/White Supremacy - Extends beyond known hate groups l i k e t h e Ku Kl u x Kl a n
to encompass the social political economic domina+on of people of color by white people.
This text will substan+ate the claimt hat we live in a society founded on white supremacy, closely related to 'an+-blackness', which some scholars prefer [as a term ] over 'white supremacy' because it more precisely describes the nature of white supremacy. We draw from scholars like Neely Fuller Jr. and Dr. Francis Cress Welsing in using 'white supremacy', which already assumes the anti-blackness as the inherent logic of white supremacy.



Wednesday, January 7, 2015

academia .. interests


https://independent.academia.edu/MaroCassimatis



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Animal Studies Martin Heidegger Phenomenal Consciousness Affect, Emotion and Feeling Pscyhoanalalysis Poetics Poetry Contemporary Poetry Annotation Digital Culture Television Studies Internet Studies Future Studies Prison Industrial Complex Critical Whiteness Studies Critical Race Theory and Whiteness theory Grief (Psychology) Complicated Grief Loss and Trauma Death, Grief, and Mourning Death Studies Death & Dying (Thanatology) 




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Animal Studies     the best of us.   creation.    ~  oh theology
Martin Heidegger      Phenomenal Consciousness         we are all Christ and we are all being crucified
Affect, Emotion and Feeling    Psychoanalalysis
____________________________________________   All the thinking is about loss

 Grief (Psychology)    Complicated Grief       Loss and Trauma
Death, Grief, and Mourning       Death Studies         Death & Dying (Thanatology)
____________________________________________  poetry is the art most like thinking
Poetics   Poetry   Contemporary Poetry,      

*Annotation*
 
Digital Culture      Internet Studies     Future Studies        //   Television Studies   

adademia papers ~ annote interface animal uncanny

Research Interests: 
 // sounds great
 // tell me about interface
no body   


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