...serves the interests of manufactures seeking greater profit, and citisens have become the passive victims of advertisers. Mackay (1997, p.5) Boudreillard has a theory about consumer commodities. In late capitalism they developed the capacity to take up a wide range of symbolic associations which overlay their initial use-value and hence become comodity signs which leads to the loss of a sense of reality.Featherstone (1991,p. 56). Commodities came to lack authenticity and met ' false needs' . Consumers began to have a passive role , be manipulated, rather than creative and active beings. Karl Marx in his theory of capitalism says that production is for the market and for profit. Veblen's in his reaserch explains how goods are used as symbolic markers of social status, and how consumption is for the purpose of imprassing others.Mackay (1997, p.4) In 1984, Bourdieu provides a seeing of social relations as cultural as well as econimical. He argues that cultural capital is distributed in such way that social groups have different capacities to vest cultural value in symbolic goods.Mackay (1997, p.7) Consumption is the articulation of a sense of identity. What shapes our identity? Is it something that comes from inside of us, or something that we have been influenced...
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...POPMUS 305 The Punk movement as a reaction to stagnant music scene of the 70s Ivan Stevanovic 3461726 The Punk movement is often seen as a reaction to what was regarded as a blown up and stagnant, self-indulging music scene in the mid-70s. In wider perspective, it is considered not merely as a music genre, but more as a complex mixture of social, cultural, rebellious upheaval of the marginal, disillusioned young white generation, first in the US and UK and then in the rest of the western world. This essay will try to explore these statements and find out whether any of the two can be considered as the only cause for the emergence of punk. MUSIC INFLUENCES AND BACKGROUND One would say that any form of modern music in its initial phase is a protest, by default. That could be supported by numerous examples throughout the music history when rebellious young artists were crossing the boundaries of the conventional music genres and styles and often rejected from the music establishment. The stylistic music origins of punk could be found in second half of the twentieth century. First it was rock’n’roll of the fifties that shook the post war society with its wild rhythms and raw cords played on electric guitars amplified to produce more “noise”. The other influences were R&B, country and rockabilly and in the 60s many sub-genres that emerged on the rock music scene like: garage rock, frat rock, psychedelic rock, pub rock, glam rock, and proto-punk. Although its origins...
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...increase is adversely affecting American culture, societal equalities, and the environment. Consumerism, in all its forms, has been around since the earliest times of American culture. From the earliest time of America, directly after the Revolutionary War, this attitude of need and want for material good and what was considered the best was very evident. One would think that during a life altering divide of nations the concept of consumerism would stop between them, but during this time, Americans still sought British goods. A high perceived value and thought pattern that these goods were of superior quality allowed these items to become a status symbol for early Americans. George Washington, weeks after signing a peace treaty with Britain, ordered a large beaded plated gallon tea urn from England (Kulman, 2004). After such destruction and hurt within the country he protected, consumerism’s grasp encouraged a founding father to secure goods from the country that oppressed for so long. This embedded culture of early America was not always thought of as a negative though. During much of the industrial and commercial revolutions this...
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...| Emerged from Liverpool in the early 1960’s, The Beatles: George Harrison, John Lennon, Ringo Starr, Paul McCartney, together changed music, culture, lifestyles, clothing style, and political attitudes. They sadistically emerged into the American pop music scene and changed it forever. Their energetic lyrics and funky beats with their grazing controversial long hair had a the youth entranced and influenced for a lifetime. Yet those weren’t the only things that had influenced many people around the world. The Beatles involvement with the politics of peace, and experimentation with hallucinogenic drugs and Indian mysticism brought a new look into meditation and a different view of society in whole. John Lennon, the lead singer of The Beatles, was 17 when he formed his first band called The Black Jacks. The band was made up entirely of classmates from the Quarry Bank Grammar School in Liverpool, and almost immediately after they started, they changed their name to The Quarry Men, to represent their school. They played Skiffle music, which was a mixture of folk, jazz, and blues which was popular in England at the time. In the summer of 1957, The Quarry Men were setting up for a performance in a church hall when another member of the band introduced Lennon to Paul McCartney, He auditioned for the band, after they had finished their set, he was immediately invited to join in October, 1957. By February 1958 Lennon’s style in music started moving increasingly away from skiffle...
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...This article is about the cultural movement. For the music genre, see Hip hop music. For other uses, see Hip hop (disambiguation). Graffiti of "hip hop" in Eugene, Oregon Hip hop is a form of musical expression and artistic subculture that originated in African-American and Hispanic-American communities during the 1970s in New York City, specifically the Bronx.[1][2][3] DJ Afrika Bambaataa outlined the four pillars of hip hop culture: MCing, DJing, B-boying and graffiti writing.[4][5][6][7] [8] Since its emergence in the South Bronx, hip hop culture has spread to both urban and suburban communities throughout the world.[9] Hip hop music first emerged with disc jockeys creating rhythmic beats by looping breaks (small portions of songs emphasizing a percussive pattern) on two turntables, more commonly referred to as sampling. This was later accompanied by "rap", a rhythmic style of chanting or poetry presented in 16 bar measures or time frames, and beatboxing, a vocal technique mainly used to imitate percussive elements of the music and various technical effects of hip hop DJ's. An original form of dancing and particular styles of dress arose among fans of this new music. These elements experienced considerable refinement and development over the course of the history of the culture. The relationship between graffiti and hip hop culture arises from the appearance of new and increasingly elaborate and pervasive forms of the practice in areas where other elements of hip hop...
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...in 1978; The 1970 Bhola cyclone kills an estimated 500,000 people in the densely populated Ganges Delta region of East Pakistan (which would become independent as Bangladesh in 1971) in November 1970; The Iranian Revolution of 1979 ousted Mohammad Reza Shah Pahlavi who was later replaced by an Islamic theocracy led by Ayatollah Khomeini; The popularity of the disco music genre peaked during the middle to late 1970s. Millennium: | 2nd millennium | Centuries: | 19th century – 20th century – 21st century | Decades: | 1940s 1950s 1960s – 1970s – 1980s 1990s 2000s | Years: | 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 | Categories: | Births – Deaths – ArchitectureEstablishments – Disestablishments | The 1970s, pronounced "the Nineteen Seventies", refers to a decade within the Gregorian calendar that began on January 1, 1970, and ended on December 31, 1979. In the 21st century historians have increasingly portrayed the decade as a "pivot of change" in world history focusing especially on the economic upheavals.[1] In the Western world, social progressive values that began in the 1960s, such as increasing political awareness and political and economic liberty of women, continued to grow. In the United Kingdom the 1979...
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...[pic][pic] [pic]Copyright © 2005 West Chester University. All rights reserved. College Literature 32.2 (2005) 103-126 [pic] | |[pic][pic][pic] | | | |[pic] | | | |[pic] | | | |[pic] | | | |[pic] | | | |[pic] | | | | | | | | | | | | | | | | | | | |Access provided by Northwestern University Library ...
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...Study Guide to Accompany Meggs’ History of Graphic Design Fourth Edition Prepared by Susan Merritt Professor and Head of Graphic Design School of Art, Design, and Art History San Diego State University (SDSU) With assistance from Chris McCampbell and Jenny Yoshida John Wiley & Sons, Inc. i DISCLAIMER The information in this book has been derived and extracted from a multitude of sources including building codes, fire codes, industry codes and standards, manufacturer’s literature, engineering reference works, and personal professional experience. It is presented in good faith. Although the authors and the publisher have made every reasonable effort to make the information presented accurate and authoritative, they do not warrant, and assume no liability for, its accuracy or completeness or fitness for any specific purpose. The information is intended primarily as a learning and teaching aid, and not as a final source of information for the design of building systems by design professionals. It is the responsibility of users to apply their professional knowledge in the application of the information presented in this book, and to consult original sources for current and detailed information as needed, for actual design situations. This book is printed on acid-free paper. Copyright © 2006 by John Wiley and Sons. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced...
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...nerve to pontificate on our present worries without reading it." R. Buckminster Fuller: "Cogent ... brilliant ... I hope vast numbers will read Toffler's book." Betty Friedan: "Brilliant and true ... Should be read by anyone with the responsibility of leading or participating in movements for change in America today." Marshall McLuhan: "FUTURE SHOCK ... is 'where it's at.'" Robert Rimmer, author of The Harrad Experiment: "A magnificent job ... Must reading." John Diebold: "For those who want to understand the social and psychological implications of the technological revolution, this is an incomparable book." WALL STREET JOURNAL: "Explosive ... Brilliantly formulated." LONDON DAILY EXPRESS: "Alvin Toffler has sent something of a shock-wave through Western society." LE FIGARO: "The best study of our times that I know ... Of all the books that I have read in the last 20 years, it is by far the one that has taught me the most." THE TIMES OF INDIA: "To the elite ... who often get committed to age-old institutions or material goals alone, let Toffler's FUTURE SHOCK be a lesson and a warning." MANCHESTER GUARDIAN: "An American book that will ... reshape our thinking even more radically than Galbraith's did in the 1950s ... The book is more than a book, and it will do more than send reviewers raving ... It is a spectacular outcrop of a formidable, organized intellectual effort ... For the first time in history scientists are marrying the insights of artists, poets, dramatists, and novelists...
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...Rafael / Mis-education, Translation and the Barkada of Languages 1 MIS-EDUCATION, TRANSLATION AND THE BARKADA OF LANGUAGES: READING RENATO CONSTANTINO WITH NICK JOAQUIN Vicente L. Rafael University of Washington, Seattle vrafael@uw.edu This paper re-visits the classic piece by Renato Constantino, “The Mis-education of the Filipino” (1959/1966), inquiring into the colonial basis of his anti-colonial critique of American English. It explores the affinity between his view of language and those of American colonial officials, especially around the relationship between English and the vernacular languages. Both conceived of that relationship in terms of a war of and on translation. It then turns to an important but overlooked essay by Nick Joaquin published around the same time as Constantino’s, “The Language of the Streets” (1963). By closely considering Joaquin’s views on “Tagalog slang” as the basis for a national language, we can see a different politics of language at work, one based not on translation as war but as play. Whereas Constantino was concerned with language as the medium for revealing the historical truth of nationhood that would lead to democratizing society, Joaquin was more interested in the conversion of history into language as a way of expanding literary democracy. Abstract Vicente L. Rafael is Professor of History at the University of Washington in Seattle. He grew up in Manila and graduated from the Ateneo in 1977. His books include Contracting...
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...CALIFORNIA CALIFORNIA An Interpretive History TENTH EDITION James J. Rawls Instructor of History Diablo Valley College Walton Bean Late Professor of History University of California, Berkeley TM TM CALIFORNIA: AN INTERPRETIVE HISTORY, TENTH EDITION Published by McGraw-Hill, a business unit of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright © 2012 by The McGraw-Hill Companies, Inc. All rights reserved. Previous editions © 2008, 2003, and 1998. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of The McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. Some ancillaries, including electronic and print components, may not be available to customers outside the United States. This book is printed on acid-free paper. 1234567890 QFR/QFR 10987654321 ISBN: 978-0-07-340696-1 MHID: 0-07-340696-1 Vice President & Editor-in-Chief: Michael Ryan Vice President EDP/Central Publishing Services: Kimberly Meriwether David Publisher: Christopher Freitag Sponsoring Editor: Matthew Busbridge Executive Marketing Manager: Pamela S. Cooper Editorial Coordinator: Nikki Weissman Project Manager: Erin Melloy Design Coordinator: Margarite Reynolds Cover Designer: Carole Lawson Cover Image: Albert Bierstadt, American (born...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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... Duhi_9781400069286_2p_all_r1.j.indd ii 10/17/11 12:01 PM HABIT W h y We D o W h a t We D o and How to Change It THE POWER OF CHARLES DUHIGG Random House e N e w Yo r k Duhi_9781400069286_2p_all_r1.j.indd iii 10/17/11 12:01 PM This is a work of nonfiction. Nonetheless, some names and personal characteristics of individuals or events have been changed in order to disguise identities. Any resulting resemblance to persons living or dead is entirely coincidental and unintentional. Copyright © 2012 by Charles Duhigg All rights reserved. Published in the United States by Random House, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York. RANDOM HOUSE and colophon are registered trademarks of Random House, Inc. ISBN 978-1-4000-6928-6 eBook ISBN 978-0-679-60385-6 Printed in the United States of America on acid-free paper Illustrations by Anton Ioukhnovets www.atrandom.com 2 4 6 8 9 7 5 3 1 First Edition Book design by Liz Cosgrove Duhi_9781400069286_2p_all_r1.j.indd iv 10/17/11 12:01 PM To Oliver, John Harry, John and Doris, and, everlastingly, to Liz Duhi_9781400069286_2p_all_r1.j.indd v 10/17/11 12:01 PM Duhi_9781400069286_2p_all_r1.j.indd vi 10/17/11 12:01 PM CONTENTS PROLOGUE The Habit Cure GGG xi PA R T O N E The Habits of Individuals 1. THE HABIT LOOP How Habits Work 3 31 60 2. THE CRAVING BRAIN How to Create New Habits 3. THE GOLDEN RULE OF HABIT CHANGE Why Transformation Occurs ...
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...ALSO BY MALCOLM GLADWELL The Tipping Point To my parents, Joyce and Graham Gladwell Introduction The Statue That Didn’t Look Right In September of 1983, an art dealer by the name of Gianfranco Becchina approached the J. Paul Getty Museum in California. He had in his possession, he said, a marble statue dating from the sixth century BC. It was what is known as a kouros—a sculpture of a nude male youth standing with his left leg forward and his arms at his sides. There are only about two hundred kouroi in existence, and most have been recovered badly damaged or in fragments from grave sites or archeological digs. But this one was almost perfectly preserved. It stood close to seven feet tall. It had a kind of light-colored glow that set it apart from other ancient works. It was an extraordinary find. Becchina’s asking price was just under $10 million. The Getty moved cautiously. It took the kouros on loan and began a thorough investigation. Was the statue consistent with other known kouroi? The answer appeared to be yes. The style of the sculpture seemed reminiscent of the Anavyssos kouros in the National Archaeological Museum of Athens, meaning that it seemed to fit with a particular time and place. Where and when had the statue been found? No one knew precisely, but Becchina gave the Getty’s legal department a sheaf of documents relating to its more recent history. The kouros, the records stated, had been in the private collection of a Swiss physician named Lauffenberger...
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...Patterns of the Hypnotic Techniques of Milton H. Erickson, M.D. Vol. I Richard Bandler and John Grinder 1 We dedicate this book with the highest reverence to Ghost O.T. a little snow in summer and Mazda (the car for people who can hear) 2 Table of Contents .PREFACE……………………………………Vii AACKNOWLEDGMENTS. . . .. . . . . . . . . . . . . xi GGUIDE TO VOLUME I of Patterns of Erickson's Work 1 PART I Identification of Patterns of Erickson's Hypnotic Work. ………………………………………………..5 Introduction: The Map Is Not the Territory. . …... . . . 7 Preview of Patterns. . . . . .. . . . . . ….. . . . . . . . . . .. 15 The Interspersal Hypnotic Technique for Symptom Correction and Pain Control. . . . . . . . ………... . . .. 26 Basic Trance Induction, with Commentary. . .. . .. 51 A Special Inquiry with Aldous Huxley into the Nature and Character of Various States of Consciousness, with Commentary. . . . . . . … . . . ………… . . . . .. 59 PARTII Familiarization with Patterns of Erickson's Hypnotic Work. . . . . . . ….. . . . . . . . …... . . . . . .. 127 Introduction. . . . . . . . . .. . . . . . . . . . . . . . . . .. 129 PART II (continued) Pacing, Distraction and Utilization of the Dominant Hemisphere. . . . . . . . . . . . . . . . . . . . . . …….. . . .. 137 Accessing the Non-Dominant Hemisphere. . . . .. 179 Conclusion to Part II ……………………………201 PART III Construction of the Patterns of Erickson's Hypnotic Work. . . , . . . , , , . . . , ……………….. . . , . . . . ,. 205 Introduction. . . ,...
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