scholarly journals Approaching the Jazz Past: MOPDTK’s Blue and Jason Moran’s “In My Mind: Monk at Town Hall, 1959”

2018 ◽  
Vol 11 (2) ◽  
pp. 1-28
Author(s):  
Tracy McMullen
Keyword(s):  
Direct Product ◽  
Town Hall ◽  
Self And Other ◽  
The Past ◽  
Miles Davis ◽  
Multi Media ◽  
Kind Of Blue

This article analyzes two approaches to the jazz past undertaken recently under the aegis of “jazz reenactment”: Mostly Other People Do the Killing’s 2014 release of Blue (a note-for-note re-performance of the Miles Davis Sextet’s 1959 album, Kind of Blue) and Jason Moran’s multi-media re-visiting of Thelonious Monk’s 1959 Town Hall Concert, “In My Mind: Monk at Town Hall, 1959.” I contend that rather than an ironic critique of the canonization of jazz, Blue is a direct product of the same tradition of understanding the past that informs such canonization. This tradition is based in an epistemology that privileges objectivity, logic, boundaries, and an obsession with naming while suspecting the subjective and what cannot be named.  Jason Moran’s “In My Mind,” however, offers a different understanding of the past, one rooted in ambiguity and connection rather than delineation and separation. I argue that this latter understanding offers a necessary critique of conceptions of the past and of self and other found in the dominant Western worldview.

Posthuman Potential and Ecological Limit in Future Worlds

2018 ◽  
pp. 179-196
Author(s):  
Phoebe Chen
Keyword(s):  
The Other ◽  
Self And Other ◽  
Female Protagonists ◽  
The Past ◽  
Ecological Disaster ◽  
Liberal Humanism

Phoebe Chen analyzes three representative YA dystopic novels in which characters face ecological disaster and finds them lacking, inadequate to address posthumanist possibilities. Ecological posthumanism stresses connections—between self and Other, human and environment, present and past—erasing borders that constitute liberal humanism. Earth Girl, Of Beast and Beauty, and Orleans all feature female protagonists living in ruined eco-systems whose subjectivities are massively influenced by their environments. Jarra, as an archaeologist on Earth, heals through recovery of the past; Isra reclaims the human traits of compassion and sacrifice to embrace the Other; and Fen survives (for a while) in the flooded streets of Orleans by embedding herself into the environment, thus losing her posthuman dignity. Chen describes such novels as being an “imaginative platform” for speculating about being human in ruined environments, a likelihood we all will face.

scholarly journals “So What” de Miles Davis

2013 ◽  
Vol 2 (1) ◽  
pp. 61-73
Author(s):  
Paulo José de Siqueira Tiné
Keyword(s):  
Miles Davis ◽  
Kind Of Blue

O artigo discute uma proposta de análise para solos improvisados a partir do exemplo do trompetista e compositor Miles Dewey Davis Jr (1926-1991) em “So What”, tema que integra o antológico álbum Kind Of Blue (1958). A partir da revisão crítica dos conceitos de Russell (1959) e da discussão do modalismo no gênero do período intitulado por “cool jazz”, são aplicados processos de redução melódica no referido solo.

Keepers of our Stories

2010 ◽  
Vol 39 (S1) ◽  
pp. 87-95 ◽  
Author(s):  
Glen Stasiuk ◽  
Steve Kinnane
Keyword(s):  
Third Space ◽  
Oral Traditions ◽  
Indigenous Australians ◽  
Film Production ◽  
Modern Times ◽  
The Past ◽  
Narrative Structures ◽  
Indigenous Perspectives ◽  
Multi Media ◽  
Modern Form

AbstractStorytelling is an integral part of life for Indigenous Australians. Before the arrival of Europeans and continuing after; gathered around the campfire in the evening stories were and are still shared; passed from one generation to the next. In modern times, in addition to a continuing oral traditions, another method of storytelling has risen from the ashes of the fire: filmmaking and multi-media production. In the past stories were verbally passed from one family member to the next. Sometimes these “yarns” were presented on a “message stick” and the modern form of the traditional message stick is the DVD or the internet. This paper will examine the importance and crucial element of re-representation of images, archives or productions that have in the past, and in the majority, portrayed Indigenous cultures and communities in a derogatory or less than flattering manner. Further, it will explain the main factors for appropriate manifestation of Indigenous perspectives within any film production that is portraying or capturing Indigenous individuals, narratives and/or communities. The paper relates the key elements that must be in place to ensure appropriate and robust Indigenous agency in any film production. Finally, the paper concludes with an affirmation of the need to creatively engage in the third space; between Indigenous values and priorities and Western formats and narrative structures, to arrive at a uniquely modern Indigenous telling that is accessible, firstly to Indigenous Australians, and secondly, to those with whom we wish to share our stories.

‘Auto-analyse’ and the Ethics of Memory in Assia Djebar's Nulle part dans la maison de mon père (2007)

2016 ◽  
Vol 55 (3) ◽  
pp. 328-342
Author(s):  
Lucy Brisley
Keyword(s):  
Recent Work ◽  
Judith Butler ◽  
The Self ◽  
Acting Out ◽  
New Model ◽  
Self And Other ◽  
The Past ◽  
Literary Output

Recent transdisciplinary attempts to theorize an ethics of memory have centred on concepts such as melancholia, haunting and trauma. Despite being pathological states, they have paradoxically been posited as markers of ‘remembrance’ that signal the subject's ethical refusal to ‘move on’. If Algerian author Assia Djebar's literary output has, since 1995, been concerned with such tropes, I argue that her most recent narrative, Nulle part dans la maison de mon père (2007), marks a shift away from such thinking. Rather than focusing on the spectralized others of Algerian history, Djebar's autofictional narrative enacts a return to the self. In doing so, it postulates a new model of relationality between self and other that moves beyond the limitations of melancholic possession, haunting and the traumatic acting out of the past. Drawing on the recent work of Judith Butler, this article demonstrates how Djebar's narrative seeks an ethical mode of remembrance that refuses to fetishize the traumatic condition.

Gesturing Indigenous Futurities Through the Remix

2016 ◽  
Vol 48 (1) ◽  
pp. 91-105 ◽  
Author(s):  
Karyn Recollet
Keyword(s):  
Social Change ◽  
Dance Movement ◽  
The Past ◽  
Multi Media

This article explores Vancouver-based multi-media collective Skookum Sound System's Ay I Oh Stomp's (2012) mobilization of “decolonial gesturings” as they create a future imaginary attentive to the past, critiquing the present, and venturing into the beyond. These gestures activate Indigenous futurities through traditional style Kwakwaka'wakw dance and choreographies of sea travel, popping as a “street dance” of holds and releases, and the mobilization of digital polychromatic shifting and looping. I illustrate how the video is a form of radical imagination tantamount to social change, and how it remixes dance, movement and gestures that “jump scale” out of colonial cartographies.

scholarly journals ON PLANARITY OF DIRECT PRODUCT OF MULTIPARTITE COMPLETE GRAPHS

2009 ◽  
Vol 01 (01) ◽  
pp. 85-104 ◽  
Author(s):  
LAURENT BEAUDOU ◽  
PAUL DORBEC ◽  
SYLVAIN GRAVIER ◽  
PRANAVA K. JHA
Keyword(s):  
Direct Product ◽  
Complete Graphs ◽  
The Past

The planarity of the direct product of two graphs has been widely studied in the past. Surprisingly, the missing part is the product with K2, which seems to be less predictible. In this piece of work, we characterize which subdivisions of multipartite complete graphs, have their direct product with K2 planar. This can be seen as a step towards the characterization of all such graphs.

scholarly journals Are We Right about the Right TPJ? A Review of Brain Stimulation and Social Cognition in the Right Temporal Parietal Junction

Symmetry ◽  
2021 ◽  
Vol 13 (11) ◽  
pp. 2219
Author(s):  
Nathira Ahmad ◽  
Samantha Zorns ◽  
Katherine Chavarria ◽  
Janet Brenya ◽  
Aleksandra Janowska ◽  
...  
Keyword(s):  
Social Cognition ◽  
Transcranial Magnetic Stimulation ◽  
Brain Stimulation ◽  
Magnetic Stimulation ◽  
Repetitive Transcranial Magnetic Stimulation ◽  
Type I ◽  
Self And Other ◽  
The Past ◽  
The Right

In the past decade, the functional role of the TPJ (Temporal Parietal Junction) has become more evident in terms of its contribution to social cognition. Studies have revealed the TPJ as a ‘distinguisher’ of self and other with research focused on non-clinical populations as well as in individuals with Autism and Type I Schizophrenia. Further research has focused on the integration of self-other distinctions with proprioception. Much of what we now know about the causal role of the right TPJ derives from TMS (Transcranial Magnetic Stimulation), rTMS repetitive Transcranial Magnetic Stimulation), and tDCS (transcranial Direct Cortical Stimulation). In this review, we focus on the role of the right TPJ as a moderator of self, which is integrated and distinct from ‘other’ and how brain stimulation has established the causal relationship between the underlying cortex and agency.

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