User:Sevgi/Personal Reader

Personal reader & annotated bibliography

Personal Reader:

   - Collection of texts/works (in whichever way you would like to include it (section/whole text/...), How is the original present in the reader?)

   - Synopsis *(can be 1 sentence, objective, who is the author, when was it made)

   - Why is this important to my research/work *

   - Annotations and notes

   --> format: up to you

To read :

https://logicmag.io/supa-dupa-skies/origin-stories-plantations-computers-and-industrial-control/

Poems

Brecht - to those who follow in our wake

Synopsis

This poem by Bertolt Brecht is about the solidarity and class struggle of Men through weeks, years, centuries. In 3 chapters, he describes times of living and passage of time from the perspective of Men and anchors in the community, resistance and scarcity. His focus shifts from a storytelling perspective to a memory of the past to a reflection on the now and the present.

"I ate my food between slaughters.

I laid down to sleep among murderers.I tended to love with abandon.I looked upon nature with impatience.And so passed

The time given to me on earth."

"Even anger against injustice

Makes the voice grow hoarse. "

Importance

When I first read this poem I thought the first quoted passage was very striking and I didn't remember the rest of the poem. For me the first stanza is a strange way to describe how a life on earth can be defined. The structure of these stanzas in the second chapter made me think that there is some ways of describing life, health, ownership, passage of time. I find it really interesting that when Brecht talks about living he means how do we eat, what do we eat, how do we sleep, how do we love, how do we perceive our surroundings and then life finishes in the midst of all these. It is a statement so strong that it changed my perception of daily life and inspired me to think about how does ownership come into play while all these happen. The second chapter also inspired me a lot about the versatility of writing and experimenting with writing. How can I implement this in a work that changes shape as a choice is made? Do you love with abandon? Do you look upon nature with impatience? What does that say about you? How does your time given on earth is passing?

I Had A Dove

I had a dove and the sweet dove died;

And I have thought it died of grieving:

O, what could it grieve for? Its feet were tied,

With a silken thread of my own hand's weaving;

Sweet little red feet! why should you die -

Why should you leave me, sweet bird! why?

You liv'd alone in the forest-tree,

Why, pretty thing! would you not live with me?

I kiss'd you oft and gave you white peas;

Why not live sweetly, as in the green trees?

Anne Carson IX. BUT WHAT WORD WAS IT - Beauty of the Husband

"To abolish seduction is a mother's goal.

She will replace it with what is real: products.

Demeter's victory

over Hades

does not consist in her daughter's arrival from down below,

it's the world in bloom—

cabbages lures lambs broom sex milk money!

These kill death."

Books

Earth Sound Earth Signal: energies and magnitude in the arts by Douglas Kahn

Sound of the Underground : Earthquakes, Nuclear Weaponry, and Music

Boundary Objects and Beyond,

Working with Leigh Star Envoi: When Shadows Become Complex: Weaving the Ŋanmarra by Susan Leigh Star

Papers

Institutional Ecology, 'Translations' and Boundary Objects: Amateurs and Professionals in Berkeley's Museum of Vertebrate Zoology, 1907-39

Quotes

Steve:

'A manifesto is like a bullhorn'

Pharmakon:

(I listened to Kim's show Vulvaverse on RadioWORM and it had this excerpt from it about performing:)

I have trouble staying on stage because it reinforces the 4th wall that is necessary for entertainment. Even though I perform, I don’t think of what I do as entertainment. It’s not about amusement and distraction. I want to channel energy, sending it back and forth, touching that deep nerve of pre-word thought, creating a space and bringing people into it with me. Every person in the room is implicated.

Anne Carson (Beauty of the Husband):

II. BUT A DEDICATION IS ONLY FELICITOUS IF

PERFORMED BEFORE WITNESSES—IT IS AN

ESSENTIALLY PUBLIC SURRENDER LIKE THAT OF

STANDARDS OF BATTLE

Helen Verran

(from Boundary Objects and Beyond, Working with Leigh Star, Afterword: On the Distributedness of Leigh by Helen Verran)

Why offer this anecdote as an afterword to Boundary Objects and Beyond: Working with Leigh Star? Susan Leigh Star had an extraordinary capacity as an analyst to let herself be inhabited by the world, and in turn to insinuate her being into many of the world’s nooks and crannies. Leigh has left something with me, and naming that feels like an appropriate expression of respect. I am privileged to be one of the world’s nooks Leigh insinuated herself into.

Synopsis

This is the epilogue of a book in memory of Leigh Star written by Helen Verran as an obituary and an outro.

Importance

The way a person can be inhabited by the world and be an inspiration to a lot of people they came in contact with is inspirational to say the least. This makes me think about obituaries and how memory works after life. I think that the way Star inspired such words about herself is light and bright. She has touched fibers of being and fingers who made them into fabrics, and it created it's own pattern. It is also a declaration of death that this life that was so cherished is now gone but remembered. I guess I am really interested in the memory of something after it leaves the room.

Jaret Vadera:

Memory happens in the present

Cheryl Dunye:

Marginality is my strength, I'm on the outside looking in

Alexander von Humboldt:

(from Cosmos)

A moment destroys the illusion of a whole life

Films

Trouble Every Day by Claire Dennis (2001)

Synopsis

Trouble Every Day is a vampiric/cannibalistic film written and directed by Claire Dennis, a French director. The film goes through the lives of two people who have the urge to consume people for substance. They eat, drink people and prey on others, not always in a way of staying alive but also for pleasure.

Importance

I fins this movie to be a really 2001 way of talking about how men and women (no non binaries or trans people) react to have the curse of being hungry for others. While the man who is affected becomes a predator and takes ownership of others bodies, she lures her victims with her sex appeal and she is hungry for validation and consent as much as for the blood. She is attractive and cared for while he is secretive and preys on women. We can also gather that he had gay lovers before but there is on certainty to any of his attractions. He is just hungry.

This movie really made me think about ownership and authorship. What do we own and how consent works in a bodily context? I think the best example of this is Dracula having to be invited into the house and then he is free to do anything he wants to the living of the house. Likewise, here the authorship of violence is directly connected to ownership of the body. I have expub in my veins so I can only think: How could this be translated into a copyright item?

Songs

That Feeling Like - Sarah Mary Chadwick

Events

18.09.24 @ Amare Den Haag Nieuwe Kerk > Bach & Beyond - SoundWave Collective en Geerten van de Wetering

Oct 2024 w/Martina Shortwave collective radio receiver making

Websites

https://hub.xpub.nl/rushtonhosts/fabulousloopdeloop/index.php?title=Main_Page

https://aksioma.org/publications

https://antiuniversity.org/about/

https://montezpress.com/

https://canalswans.commoninternet.net/wiki/tyranny/

https://raphaelbastide.com/ > https://raphaelbastide.com/greetings/

https://hub.xpub.nl/cerealbox/~manetta/ahouseofdust.html

https://hub.xpub.nl/cerealbox/~manetta/platforms/