Showing posts sorted by relevance for query binary. Sort by date Show all posts
Showing posts sorted by relevance for query binary. Sort by date Show all posts

Monday, February 19, 2018

The Tree of Knowledge: Binary Oppositions

Image result for adam and eve 


"You will not certainly die,” the serpent said to the woman. 
“For God knows that when you eat from it your eyes will 
be opened, and you will be like God, knowing good and evil."
                                                                      (Genesis 3: 4-5)


            The word “blue” can only mean ‘blue’ if there is also not-blue.  The word “good,” anticipates and implies that “evil” exists; “male,” “female,”; “day,” “night,” and so on with every word.  Language, by nature, separates. Paired binary oppositions, relying on each other for meaning, are called “binary oppositions.” To know, by some philosophical perspectives, is ‘to have words for.’  In this light, Adam and Eve’s eating of the Tree of Knowledge of Good and Evil was the moment they acquired language.

            Linguists Ferdinand de Saussure and Jacques Derrida wrote extensively on this dynamic, showing that language “privileges” or gives "dominance" to one of each pair.  Using a numerical analogy, we would then have the privileged, dominant word as numerator and the subordinate word as denominator:

good         male           day
evil           female        night
           
            Philosopher Ludwig Wittgenstein wrote, “To imagine a language is to imagine a form of life.” Binary oppositions, as all words do, embody the history of how they were used, including the prejudices and power struggles of those who used and use them.  Notice that “male” is favored over “female” in too many languages; and “good,” assumes a common or dominant view of what “good” means. Even though, for some, day is a dangerous time, and night, as for nocturnal animals, a refuge, English privileges “day” over “night.” Here is another pair that often, insidiously, reinforces destructive prejudices:   

                                                                white
                                                                black

The expression “it’s not all black and white” normally assumes “black” to be negative and “white” positive.  In her book White Women Writing White, R. Curry shows that, for example, Sylvia Plath regularly uses the image of blackness to depict evil.  In our racially rich and diverse world, we cannot afford to reinforce in our daily language the hegemony of white people over people of color. It behooves us to become aware of these patterns and to both undermine and abandon them. A long time ago I abandoned using the word “black” pejoratively in contrast to “white.”  Instead, I prefer the neutral “it’s not one extreme or another.”

            Traditionally, literature was interpreted through a standard identification of conflicts. Note the gender bias:

                        Man against Himself
                        Man against Man
                        Man against Society
                        Man against Nature
                        Man against Machine
                        Man against Fate
                        Man against the Supernatural

These are much too general and, at the same time, restrictive.  On the other hand, identifying binary oppositions to explore is a generative way to engage with and to interpret literature—inspiring surprising points of entry and creative perspectives.  We can clearly see how our language favors the numerator and decide to favor the denominator as our point of entry.

            Here, for example, is a core binary opposition cited by Derrida:

                                                            presence
                                                            absence

Let’s see how we can favor not what is present in the text of a piece of literature, but what is absent.  For example, in Bran Stoker’s Dracula, there is a scene in which three vampire women are descending on Jonathan Harker, an as-yet not undead protagonist, to sexually and hematologically ravage him. Dracula rushes into the room and says, “Get off him.  He’s mine!”  The text at this point goes blank.  When the words resume, we are off onto another topic.
            The absence of what might have happened between Dracula and Harker is significantly more evocative and tension producing in the reader, than any explicit scene might have been, and can produce more interesting interpretations that will then enliven the reading of the rest of the text. Hence, we privileged “absence” over “presence.”  Similarly, the absence of a mother in “Cinderella,” and in its structurally parallel King Lear, can provide us with new and textured interpretations to enliven of our readings of the works.
            The Bible, as popularly interpreted, creates this binary opposition,

                                                                 Adam
                                                                  Eve,

with Eve having all the denominators in the language attributed to her: Evil, instead of Good; Disobedient, instead of Obedient; Weak, instead of Strong; and more.  Let’s rehabilitate her, favor her over Adam, instead, as the one who was courageous and insightful enough to embrace language as our source of power and civilization.  Because of her, we left the paradise where survival was enough, to enjoy a world in which, through language, we can be co-creators of our lives.

            In another post, we will consider how we can use various critical perspectives to manage binary oppositions.  For now, next time you read a piece of literature, see a film, or experience a personally dramatic situation, name some binary oppositions you might use to interpret it.  Privilege the denominator as your source of power and meaning, and notice the freedom you enjoy, thereby.

                                                              Works Cited

Curry, R.. White Women Writing White: H.D., Elizabeth Bishop, Sylvia Plath, and Whiteness. Westport: Greenwood, 2000. 

Goltzius, Hendrik.  "The Fall of Man."  Painting frontispiece. 1616.

Stoker, Bram.  Dracula.  Ed. John Paul Riquelme.  Boston: Bedford, 2002.

Wittgenstein, Ludwig.  Philosophical Investigations. 4th Ed. Indianapolis: Wiley-Blackwell, 2000.



Sunday, January 12, 2020

Digital Gods: How Devices Turn Us into Robots

Image result for robots"


           The screen goes blank. Windows won’t open. Download an attachment and you can’t find it. The password is case sensitive.  The computer crashes. Pop-up Ads block text. Files get corrupted.  Photos melt into garbledy code. Files get erased. Formatting is scrambled. Blue screen of death.  Help!  Help? There is no help.  Instructions, if you can find them, are loaded with jargon. They tell you to click on blah.  There is no blah on which to click. Community chats just bitch and moan (as I’m doing here). There are no phone contact numbers. If there is one, it’s menus, menus, menus. Click. Click. Click.

           All right then.  Suppose you master, let’s say, Google docs.  There are thousands of techies at Google who must look like they’re working.  They can’t leave well enough alone.  They fix what isn’t broken.  They are constantly devising new systems full of bugs.  They drop old features. Nyah, Nyah, you can’t win.
          
           Tech rage.  Melt down.  I’ve been on the edge of taking an axe to my PC way more than I can admit. But no matter how much I bellow, the device sits there impervious. Might as well be a demon in there—playing me like a marionette.  I could get paranoid.

In his landmark book, Understanding Media: The Extensions of Man, Marshall McLuhan warned us that “The medium is the message”: the message is “the scale or pace or pattern” that a new invention introduces into human affairs.  The way I apply this to teaching is to say that students learn how I am, not what I say—the medium, how; not the content, what.  When I was teaching a class of professors how to teach college writing, I asked them at the end of the semester what was most important to them.  I was hoping they would cite my punctuation routines, my research, my class management.  No.  What they cited the most, what they carried away into their own teaching was my love and enthusiasm for writing.  It was the how of my teaching not the what that was the message.

So what do digitalized messages tell us—what is the how of them?

Digitalized media are built on the base 2 binary numerical system—0 and 1, 0 and 1—this way or that way—yes and no.  Programmers devise pathways based on 0 and 1. Once you choose either 0 or 1, you must follow that path.  Then choose 0 or 1. There is no going back.  Like the old experiments with pigeons pecking at a lever for food pellets. You have to get it right or no pellets for you. This rigid medium, complicated by the fact that all these systems are microscopically delivered and invisible, produces these overarching messages: 

(1)         Everything is either this or that.  Right or wrong. No wiggle room.
(2)         The computer always wins—its way or no way.
(3)         There is only one way to do things.
(4)         You have to figure out what it wants and how it wants it. 
(5)         You don’t count.
(6)         You have to be vigilant.
(7)         You’re not in on the secrets.
(8)         You don’t belong in the divine eschelon.
(9)         You are at its mercy.
(10)         If you rebel, you will be punished.

These messages a myriad of times a day, day after day, year after year, a lifetime—go in very deeply.  They create a sense of helplessness.  And despair.  A dynamic of vigilance—of trying to figure out what someone, in this case, something wants. 

Studies have shown that noise, odor, or light pollution does the most harm when the brain so adapts to it that we don’t notice it any more—in other words, the brain has been changed to accommodate the tyranny of the pollution.  We become vehicles for the pollution. So, too, once we stop noticing how we are being affected by the digitalized world, we have succumbed to becoming them—to becoming robots.  That would be devastating, enough.  But the messages infiltrate all areas of our lives.

We have a world that is built on extremes—rigid extremes that forbid human error, emotional or spiritual flux, individual personality—no relationships, syntheses, creativity. Fascistic and sociopathic personalities—who pander to extremes—are voted into office.  It’s all-or-nothing with them. And we are helpless. Helplessness leads to addictions—drugs, alcohol, shopping, Netflix binging, phones, phones, phones.  We become addicted to praying to the Digital Gods to shower their favor on us. Please let this work. Click, click.  Please let this work.

And I’m writing this post on my HP—an acronym for Higher Power? 

Works Cited:

Cover art:

Text:
McLuhan, Marshall.  Understanding Media: The Extensions of Man. New York: McGraw-Hill,
            1964.

Because I Can Teach Link:

The Tree of Knowledge: Binary Oppositions:

Thursday, April 16, 2020

Much To Do To Do Shakespeare: Strategies for Exploration and Interpretation

Free Png Freeuse Shakespeareillustration Png Image - Transparent Shakespeare Clip Art

           Without readers and theatergoers, there is no Shakespeare.  His work is like a musical score, and we are the musicians who embody and bring it life.  Throughout this blog, there are many strategies are offered for joining Shakespeare’s orchestra. This post offers a list of this range, referencing the Index number (46) for posts for how to bring Shakespeare’s works to life.  You can access the Index @ https://www.blogger.com/u/2/blogger.g?blogID=4711406005322167702#allposts

I.                Poetry (36)

a.      Imagery (six senses) (66)
b.     Vowel Sound Frequencies (94)
c.      Rhyme
d.     Alliteration
e.      Consonances
f.      Speech mouth and face metaphors (94)
g.     Rhythm
h.     Diction
i.       Etymologies
j.       Puns
k.     Contrast to prose
l.       Numbers (69, 70, 71, 95)
m.   Sonnets (103)

II.              Theme (43)

a.      Titles
b.     Binary Oppositions (20)
c.      Content Analysis
d.     Critical Approaches (90)
e.      Paper Clip (29)
f.      Story not Plod (55)
g.     First words (19)
h.     Last words
i.       Genres (99)
j.       Parallels to current events


III.            Character:

a.      Typecasting (92)
b.     First words (19)
c.      Names (93)
d.     Role reversals (96)
e.      Deconstruction (96)
f.      Shadow selves
g.     Shifting alliances
h.     Practices
i.       Projection
j.       Development (97)
k.     Seven deadly sins
l.       Speech Acts

IV.            Staging (23)

a.      Rhetorical devices
b.     Dramatic Irony
c.      Setting
d.     Props (42)
e.      Stage directions
f.      Lighting
g.     Sound
h.     Metatheatre
i.       Where’s Iago?

V.              Plot (55)

a.      Why summaries don’t work (6)
b.     Character as plot
c.      Setting as plot
d.     Staging as plot
e.      Subplots

VI.            Writing strategies:

a.      Land the Helicopter (5)
b.     Banish summary and paraphrase (6)
c.      Paginate (25, 61)
d.     Punctuate (26, 27)
e.      Be honest (28)
f.      Paper Clip (29)
g.     Caress the Literature (33)
h.     Digest quotes (39)
i.       Start where it starts (40)
j.       Be original (43)
k.     Avoid the intentional fallacy (48)
l.       Story not Plod (55)
m.   Avoid clichés (59)
n.     Titles (79, 81)
o.     Use/mention (91)
p.     Genealogies (100)
q.     Enjoy (50, 71)

Works Cited:

Cover Art:


Text:

Because I Can Teach: becauseicanteach.blogspot.com