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Interdamme Heir|Bungalows Party

SOS Bashir Bremen

There was a moment, in the weeks following the events of September 11, 2001, when a need for renewed thinking on fundamental cultural values, on the meaning and possibility of civic participation, and on notions as basic as mourning and commemoration, on peace and war, emerged unmistakably in American consciousness. This awareness receded dramatically as the media assumed the national work of mourning, and it quickly ceded to ideological certainty in the administrative consolidation (under the name of a „war on terror“) of a conservative agenda. (42)
—Christopher Fynsk, The Claim of Language: A Case for the Humanities.-cos nos.-

[1] In the epigraph above, Christopher Fynsk highlights the failure of the humanities to deal sufficiently with the problem of 9/11. Most of the questions surrounding the disaster involved the usual sort of post-mortem fare on cable news networks. Once we knew who flew the planes, the discussion moved toward the larger networks and logistics that made 9/11 possible, as well as the questions of why. While the humanities should have helped the American citizenry to deal with the socio-cultural implications of this disaster, it did little to prevent a dominant American ideology from answering some of these questions with an enlightenment-based, scientific approach, and allowed the Bush administration to assert that the best way for the ordinary citizen to deal with the problem was to „shop-till-the-terrorists-dropped.“

[2] From this perspective, the humanities failed the American people. Or, we were the problem all along, and the humanities failed to solve us. Instead of relying on the sciences to answer questions about 9/11 (including all of the social sciences), what America really needed was the humanities to help it understand its situation, from which it might engage in practical reasoning to make decisions. Fynsk makes a telling observation when he asserts that the media took on the task of mourning for the nation. As the fourth estate, the media’s role is to oversee the official versions of events furnished by the government so that it can determine their validity, ascertain who benefits from such narratives, and whether or not they are in the public’s best interest. However, as Fynsk surmises, the media instead became implicit in sanctioning the official version of events. Traditionally, the humanities has taken up three tasks to justify its existence. The first involves the Human-Text Interface, or more simply, literacy. Second, the humanities is expected to teach critical thinking, which is required by citizens in a democracy so they can make decisions in their best self-interest. However, the last aspect, and the one that Gregory L. Ulmer sees as most lacking in the 9/11 disaster, is that of self-knowledge. It is self-knowledge, in conjunction with aesthetic thinking, which Ulmer takes up in Electronic Monuments.

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Place and the Electrate Situation
William Tilson and John Craig NS|FC St.Pauli green

Composite image from Imaging the Miami River, Place-Based Virtual Reality, Florida Research Ensemble, 2004.
Composite image from „Imaging the Miami River“, Place-Based Virtual Reality, Florida Research Ensemble, 2004.

„When I stay in one Place, I can hardly think at all; my body had to be on the move to set my mind going.“ —Jean-Jacques Rousseau.

„We wish to see ourselves translated into stones and plants; we want to take walks in ourselves when we stroll around these buildings and gardens.“ —Frederich Nietzsche.

„From a thousand different sites, the production of place continues to be possible.“
—Ignacio de Solá-Morales.

Imaging Place

[1] The Florida Research Ensemble (FRE) [i] is working collectively and individually on the invention of new digital forms and the development of what Greg Ulmer, the group theorist, refers to as electracy. Electracy is to information technology what literacy is to alphabetic writing. Several projects have emerged out of the work that the group did on the Miami River including „Imaging Place,“ a place-based, virtual reality art project, which takes the form of a user navigated, interactive computer program that combines panoramic photography, digital video, and three-dimensional technologies to investigate and document situations where the forces of globalization are impacting the lives of people in local communities. The goal of the project is to develop the technologies, the methodology and the content for truly immersive and navigable narrative, based in real places.

[2] Although the method borrows freely from the traditions of documentary still photography and filmmaking, it departs from those traditions by using nonlinear narrative structures made possible by computer technologies and telecommunications networks. The work is projected up to nine by twelve feet in a darkened space with a pedestal and a mouse placed in the center of the installation enabling the audience to interact with it.

Installation view of Imaging Place, 2006.
Installation view of „Imaging Place,“ 2006.

[3] Activated by the click of a mouse button, the interface leads the user from global satellite images to virtual reality scenes on the ground. Users can then navigate an immersive virtual space. Rather than the linear structure of traditional documentary cinema, „Imaging Place“ allows stories to unfold through non-linear database navigation and multilayered spatial exploration. „Imaging Place“ is therefore experienced as a process of navigation and excavation, allowing the user to uncover many layers of history and meaning. „Imaging Place“ documents sites of cultural significance that for political, social, economic, or environmental reasons are contested, undergoing substantial changes, or are at risk of destruction. This includes historic sites as well as sites of living culture that are being displaced by globalization.

[4] The project also seeks to expand the notion of documentary by exploring how place is internalized, mapping place as a state of mind. We have come to refer to this practice as Choragraphy. Chora is the organizing space through which rhetoric relates living memory to artificial memory. It is the relation of region to place. Chora gathers multiple topics associated with a geographical region into a scene whose coherence is provided by an atmosphere. This atmosphere or mood is an emergent quality resulting in an unforeseeable way from the combination of topics interfering and interacting with one another. „Choramancy“ is the practice of identifying and documenting Chora. [ii]

[5] „Imaging Place“ is designed to accommodate interdisciplinary collaboration conducted across institutions and over distances. It uses new technology to bring disparate bodies of knowledge together in a single hybrid form. The method attempts to bridge the gaps in understanding that exist between esoteric disciplines that have developed as a result of academic and industrial specialization. The technological tools are now available for bringing the work of experts and stories of local denizens together without sacrificing the depth and dimension of specialized knowledge and to connect the abstraction of highly specialized thinking with the visceral experiences of people on the ground. In addition to providing a form for the generation, dissemination and accumulation of interdisciplinary research and artistic production, „Imaging Place“ is designed as a model strategy for collaboration. It has its beginnings in a pilot project that emerged from a study of the Miami River in Miami, Florida.
Imaging the Miami River: Routes-Roots-Rhizomes

[6] According to popular legend, Miami is the first city in modern times to be founded by a woman and created with an image. Julia De Forest Sturtevant Tuttle had read William Bartram’s account of his travels in Florida and seen articles extolling the edenic virtues of this remote extension of the United States. When she arrived in Miami from Ohio in 1891, she faced an assortment of denizens inhabiting the scene: a Seminole community, a few entrepreneurs, pirate-adventurers and ne‘er-do-wells. Miami—a name derived from mayaimi which meant „big water“ in the language of the Mayaimis, Calusas, and Tequestas tribes, offered unrelenting mosquitoes, no natural resources and little solid ground. In 1895, Tuttle sent an invitation to railroad king Henry Flagler in the form of a fresh orange blossom from her garden. The orange blossom, resting on moist cotton inside a small box, required no explanatory note. Flagler, who was shivering in the Great Freeze in Ormond Beach, could not resist the message of the gift. The instantaneous mental geography created by this meta-image of Florida enticed Flagler to extend his rail line to Miami by 1896.

[7] This anecdote is most probably apocryphal but instructive-the orange blossom acted as a rhizome that invented the city of Miami. What makes the Miami River ripe for our study is that since this encounter, it has only been conceived in terms of images that mask its problems. Consequently, the river is now practically unknowable to the general public except through representations supplied largely by the tourism and entertainment industry, the chamber of commerce and the news media. We, the public, are estranged from the problem site and have to construct opinions, images and means of production solely from this material. The FRE plan is to counter this impasse by constructing a wide scope information landscape using the internet. Imaging the Miami River employs testimonials constructed from direct contact with the river using mystory techniques. [iii] The Miami River project is no less deliberate in the editing of images, selection of messages and driving ideology than those employed by the commercial sector, but the difference is that their motives are hidden and FRE’s paramount intent is to expose the limits of principle. [iv]

Navigational Interface with Greg Ulmer, still frame from Imaging the Miami River, Florida Research Ensemble, 2004. Aerial and satellite images the Florida Department of Transportation and NASA.
Navigational Interface with Greg Ulmer, still frame from „Imaging the Miami River,“ Florida Research Ensemble, 2004.
Aerial and satellite images the Florida Department of Transportation and NASA.

[8] Despite rapid gentrification since the project began, it still remains a place of work and, as Raymond Williams remarks: „a working country is hardly ever a landscape“ (read: „conceived as an image“). The Port of the Miami River is the fifth largest in Florida and generates significant income for the state from water related industries.

Inland Movement of Maritime Cargo by Truck from South Florida, U.S. Department of Transportation.
Inland Movement of Maritime Cargo by Truck from South Florida, U.S. Department of Transportation.

[9] The city of Miami is a quite literally a threshold between the US and Latin American and the Caribbean and the river is a hinge for this connection. Air and cruise ship traffic aside, the Miami River connects the city to over 72 ports of call throughout the hemisphere with most of the traffic operated by small shipping contractors in vessels of 100 tons or less.

Map of Caribbean Trade, William Tilson and Jeff Skoda-Smith, 1995.
Map of Caribbean Trade, William Tilson and Jeff Skoda-Smith, 1995.

[10] Overseeing this process are over 32 local, state and federal agencies-many with competing agendas—which are responsible for the regulation of the river zone. Through this bureaucratic entanglement, drift the denizens of the zone, immigrants, legal and otherwise, marginalized peoples, idiosyncratic personalities—rich and poor.

Agencies With Jurisdiction on the Miami River, U.S. Miami River Coordinating Committee.
Agencies With Jurisdiction on the Miami River, U.S. Miami River Coordinating Committee.

[11] In spatial terms, The Miami River clearly exemplifies the dynamic and interdependent relationship between the smooth space of the sea and the striated space of the city grid explored by Deleuze and Guattari in 1000 Plateaus. [v] The conditions of the river zone demonstrate an urban space where there is a mixture or „holey space“ that exists as constantly shifting degrees of interpenetrating social and physical realities. Everywhere there is leakage and contamination of one kind of space into the other. Like the Haitian boats listing at port along the river leaking bilge and taking on water, the unchecked pollution problems of the city seep into the river along its largely ignored watershed. [vi]

Impounded, still frame from Imaging the Miami River.
Impounded, still frame from „Imaging the Miami River.“

[12] The diagonal cut of the river changes the complexion of Miami by creating obstructions in the rational order of the grid clearly shown in composite satellite images. From within the city, the only perceptible recognition of river life occurs in the rhythmic rise and fall of the drawbridges that interrupt the traffic flow of the street. At street level, the irregularity of the grid coupled with limited public access prevents a clear view of the river. These obstructions „frustrate our rational inclinations to identify a center, a base or a foundation“ [vii] to the city’s identity.

Crossroads, Haitian trading vessel on the Miami River, Barbara Jo Revelle, 1998.
Crossroads, Haitian trading vessel on the Miami River, Barbara Jo Revelle, 1998.
The Impossible Walk

[13] „Crossroads“ provided us with an image of the aporia and the first test of choragraphy. How would the method work in other disciplinary settings? What could we learn from Revelle’s journey in rethinking the idea of placemaking in an electrate society? Tilson constructed a graduate seminar on the identity of public space, which used the Miami River as both context and subject. It was consciously built as an experiment in pedagogical hybridity. The subject matter, the mapping of psychogeographic space, falls in arena of the traditional seminar—the realm of rhetoric and discourse. The resultant body of work however, is located in the studio practice of construction.

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Background

Several theories have been proposed to conceptualize the pathological processes inherent to schizophrenia. The ‚prostaglandin deficiency‘ hypothesis postulates that defective enzyme systems converting essential fatty acids to prostaglandins lead to diminished levels of prostaglandins, which in turn affect synaptic transmission.
Methods

Here we sought to determine the lipidomic profiles associated with schizophrenia in twin pairs discordant for schizophrenia as well as unaffected twin pairs. The study included serum samples from 19 twin pairs discordant for schizophrenia (mean age 51 ± 10 years; 7 monozygotic pairs; 13 female pairs) and 34 age and gender matched healthy twins as controls. Neurocognitive assessment data and gray matter density measurements taken from high-resolution magnetic resonance images were also obtained. A lipidomics platform using ultra performance liquid chromatography coupled to time-of-flight mass spectrometry was applied for the analysis of serum samples.

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Can Men do Feminist Theory?

There are perhaps as many definitions of feminism and feminist theory as there are people who declare that they are feminists. Ben Agger (1998) states that the major achievement of feminist theory is to make the politics of sex and gender central to understanding oppression. However, feminist theory is not only about understanding but also about action. A goal of the feminist project is to end the oppression of women and attain social equity for them.

The politics of patriarchy have suppressed women’s voices and dominated social discourse and social action to the benefit of men and detriment of women. Thus it may be problematic for some readers that I, as a white male in this patriarchal society, am struggling to define the male role in feminism, which was born out of the women’s movement and revisits the unanswered question, can men do feminist theory?

This question can only be answered in differing ways for the meanings of text and answers to social questions are contested symbolic mediations imbedded in social relations of power. Perhaps a more important question than whether or not men can “do” feminist theory is whether men can engage feminism and can they be feminists?

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Catherine Liu et.al., The Dreams of Interpretation
Review by L. Michael Sacasas
University of Central Uni|*)Bass°Florida

Catherine Liu, John Mowitt, Thomas Pepper, and Jakki Spicer, editors., The Dreams of Interpretation: A Century down the Royal Road. Minneapolis: University of Minnesota Press, 2007. 379 pp. $25.00 (978-0816648009)

[1] From the ancient tale we now know as The Epic of Gilgamesh to the 2010 Hollywood blockbuster Inception, dreams have captivated the human imagination. Manuals of dream interpretation are among the oldest extant texts from Egypt and Mesopotamia, and the monarch’s troubling dream and its interpretation was a set piece in ancient literature. Since then, however, dream interpretation has been democratized. Nestled among the tabloids, one can always find pocket size guides to dreams and their meanings for sale at the supermarket check-out aisle. Of course, among the professionals, it is now the psychoanalyst, not the court sage, who is occupied with dream interpretation, and Sigmund Freud remains the person most closely associated with the practice, even for those who have never read a word of The Interpretation of Dreams. So deeply has his work on dreams permeated the popular imagination, that a popularized Freudianism underlies the approach to dreams taken by many who have never heard the name of Freud.

[2] Freud completed The Interpretation of Dreams in 1899, but he postdated the book to 1900 so that it may be the first book of the new century. So profoundly did Freud shape the thought of Western culture over the course of the ensuing 100 years, that it may justly be called the first book in the older Latin sense of prima, not merely first in a sequence, but also in primacy of significance. At the start of a new century, in the year 2000, a group of scholars and practitioners of psychoanalysis gathered at the University of Minnesota to commemorate the 100th anniversary of Freud’s Dream Book. It was at this conference, „The Dreams of Interpretation/The Interpretation of Dreams,“ that most of the papers comprising The Dreams of Interpretation: A Century down the Royal Road were first presented.

[3] The conference began, and the book appropriately concludes, with a paper by Mary Lydon who was to pass away seven short months later. In her presentation, Lydon remarked,

The topic of this conference, „The Dreams of Interpretation/The Interpretation of Dreams,“ is enough to set one dreaming – about dreams, one’s own and others, about Freud’s theory of dreams and the dream of psychoanalytic theory, what Shoshana Felman calls „the ongoing psychoanalytic dream of understanding,“ about the dream of the conference, about what I dream of doing in this introductory talk …. For no less than dream interpretation, dreaming and especially telling one’s dreams have consequences …. (359)

As the editors note in their introduction, however, it was not long after the halcyon days of the conference that dreams gave way to nightmares and „cries of Terror!“ With a knowing, world-weary tone the editors castigate „the religions of Abraham“ for their descent into „apparently unsoundable atavistic depths,“ and, perhaps stretching credulity a bit thin, link the assertions of terror with assertions of the death of psychoanalysis in the popular media (xiv). [1] Both assertions, they claim, „are of the same piece“ and betray a „structural regression, and an angry one at that.“ Moreover, „the hallucinations of terror, and of a terror characterized by the unwelcome realization of other monotheisms, of other claims to worship another one-and-only god, are rooted in fantasies in which the need to believe in the All Good Father, and to have him at one’s side“ lead necessarily to the rejection of any other monotheistic claims [editors‘ emphasis] (xv). This rather tortured prose borders on tautology, monotheists reject competing monotheisms, but less obviously, these fantasies, according to the editors, also lead to the rejection of

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