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Dialectics of Disaster: Earthquakes and State Formation in Latin America
Bildner Center, November 9, 2012
Graduate Center, CUNY
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smile."Allay edi, Kalyani?" Kalyani looked down and smiled, coyly acknowledging her bigotry. "You see?" Comrade Pillai said triumphantly. "She understands English very well. Only doesn't speak" '. .
A political reading of a work of fiction, however, cannot simply consist of an assessment of the author's attitude to specific political parties. It must also consider where the book is positioned in relation to major social and economic forces and contemporary ideological trends. This article has only been able to hint at some of the answers to these questions. What is clear is that The God of Small Things places itself unambiguously on the side of progressive forces, on the side of those resisting the ravages of a semi-feudal, backward capitalist society which India remains today, against the oppressive values which are today being reinforced by the growth of right-wing forces which has accompanied globalisation. .
The failure of some on the left to grasp the significance of this springs partly from narrow sectarianism, but also partly from an inability to grasp the importance of patriarchy, the main focus of Roy's attack, to the reproduction of this capitalism. But it is also the case that the particular manifestations of this which are central to the novel -the oppressiveness of caste and gender, the abuse of children -are questions which are today a site of contest between the dialectical materialist approach and the post-modernist one which negates the role of a coherent analysis of real economic and social relations and structures of power in favour of a multiplicity of co-existing subjectivities. In this debate, I would argue, Roy comes down squarely -if perhaps unconsciously -in favour of a materialist approach. .
Thus towards the end of the book she describes with chilling explicitness the brutalisation of the dalit Velutha after 'a posse of Touchable policemen crossed the Meenachal river, sluggish and swollen with recent rain, and picked their way through the wet undergrowth, the clink of handcuffs in someone's heavy pocket'. The twins are witnesses to this: .
'Blue-lipped and dinner-plate-eyed, they watched, mesmerised by something that they sensed but didn't understand: the absence of caprice in what the policemen did. The abyss where anger should have been. The sober, steady brutality, the economy of it all. They were opening a bottle. Or shutting a tap. Cracking an egg to make an omelette. The twins were too young to know that these were only history's henchmen. Sent to square the books and collect the dues from those who broke its laws. Impelled by feelings that were primal yet paradoxically wholly impersonal. Feelings of contempt born of inchoate, unacknowledged fear -civilisation's fear of nature, men's fear of women, power's fear of powerlessness. .
.....There was nothing accidental about what happened that morning. Nothing incidental. It was no stray mugging or personal settling of scores. This was an era imprinting itself on those who lived in it. History in live performance.' .
back to Inqilab .
EMS attacks literary content of Arundhati Roy's novel .
www.rediff.com/news/nov/29roy.htm .
Marxist leader E M S Namboodiripad has once again trained his guns on Arundhati Roy, this time for what he describes as the deviant sexuality in her Booker prize winning The God of Small Things. .
In an article published in his diary in the Deshabhimani weekly and reprinted in the Communist Party of India-Marxist daily Deshabhimani today, the Marxist veteran, whose name figures in the novel, denounced the book as representing the literature of a decadent, bourgeois society. .
Namboodiripad, who had already come down heavily on the novel for its "anti-Communist politics" said he was prompted to write again about the book following complaints from many friends that he had not touched upon the literary merits of the novel. .
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... color, that is. More memories... images. The power of images (and the dialectical relation they have with memories) is pointed out by an author I am now reading (way too late, it seems, since he died 5 years ago), W.G. Sebald. Here he discusses a passage of Beyle's (Stendhal's) diary:
It was a severe disappointment, Beyle writes, when some years ago, looking through old papers, he came across an engraving entitled Prospetto di Ivrea and was obliged to concede that his recollected picture of the town in the evening sun was nothing but a copy of that very engraving. This being so, Beyle's advice is not to purchase engravings of fine views and prospects seen on one's travels, since before very long they will displace our memories completely, indeed one might say they destroy them.
I've got - the new sincerity
I've got - a secret vocabulary
I've got - MIDI in, out, thru
I've got - dialectical specstimme
I've got - herm choreography
I've got - a conceptual stunt double
I've got - a deviant scene, i mean
I've got - multiple alliances
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I've got to move.
CURSOR CARESSOR ERASER is an interactive installation and net artwork contemplating the erotic image and themes of sensuality in time. Caressing gestures of the interactors produce erasures of digital photographic imagery, resulting in visual palimpsests. These erasures thematize temporal dialectics of touch and bodily encounters with others, such as forgetting and remembering, or recognition and strangeness. A simple gesture- a stroke across a touchpad or the movement of a mouse – creates a series of rich variations of bodies in change.
Dialectical Arabic – It is rather the informal form of the Arabic language that native speakers use for their daily communication. Although the basics of the language are similar, the dialect differs according to the region. Each Arab country has a distinct dialect. Examples are Egyptian Arabic, Gulf Arabic, Sudanese Arabic, etc. Choose a dialect and stick to it throughout the learning period. If you keep on switching the dialects, the learning process may become confusing and difficult.
Get the foundation right
No matter which language you choose to learn, it is important to set the foundation right. The right way to start learning Arabic is by introducing yourself to the Arabic alphabet. There are 28 alphabets in Arabic. All the letters are consonants, and there is no upper case or lower case letters. While you learn the alphabets, you should get familiar with the oral expression of each letter as well.
Since it is different from the Latin alphabets, you may take time to get familiar with the alphabets and its pronunciation. Regular practice is the only way to master the alphabets. In today’s world, you can find authentic educational software and applications that help you learn alphabets quickly. You can also make use of word games and puzzles that facilitates Arabic alphabet learning.
Focus on spoken dialects
There are different ways of learning a language – grammar-based learning, vocabulary-based learning, translation-based learning, communication-based learning, immersion-based approach, etc. The best way is to combine various learning methods and figure out a learning strategy that suits your learning style.
If you are planning to learn the language under an Arabic tutor or choose to follow a grammar-based approach, you should not overlook the importance of spoken dialects. Generally, people who learn Modern Standard Arabic may find it difficult to speak the language with fluency. To get mastery over the language, you should be able to read, write, listen, and speak in it. Make sure you prefer a learning method that involves all these aspects.
Get better exposure to the language
If you want to learn Arabic quickly, you need to improve your exposure to the language. One way is that you can become a member of Arabic-speaking communities if you are living in a Western country. You can attend events, cultural festivals, and other programs conducted by Arab-speaking community. It is better if you can regularly attend events that use the Arabic dialect that you want to learn.
Moreover, you can watch movies or listen to audio podcasts in the Arabic language. You can find Arabic speakers online or offline for improving your speaking skills. When you get better exposure, you can learn the language quickly. Also, you can find a language partner from the Arab-speaking community.
Be consistent
Arabic is often considered a difficult language to learn. However, it is not true. Consistency and commitment is the key to learn the language. After determining the hours you can dedicate to the learning, you can create a study plan. You can take advantage of the right Arabic learning course that suits your learning style.
Make sure you improve your involvement with the language to speed up the learning process. You can use multiple ways to immerse in the language. Movies, TV series, radio, books, newspapers, magazines, etc. helps you improve your exposure to the language. Although you cannot understand the grammatical concepts, you will be familiar with spoken dialects and usage of language. It will help you improve your vocabulary as well.
Anyone can learn Arabic within a few months, provided you follow the right strategy and consistent approach. The tips mentioned above will give you a good start to your learning process. Stay motivated and improve your Arabic language skills!
Article source alifarabic.com/blog/learn-arabic-online/5-tips-to-start-l...
Alfred 23 Harth’s early formation can be read as a remarkable intertwining of play, discipline, and conceptual awakening that would later come to characterize his multidisciplinary oeuvre. The boyhood dream of becoming an architect already contained a telling dialectic: on the one hand, the imaginative freedom of building ephemeral huts in the garden, one after another; on the other hand, the precision of constructing variations within given parameters. These garden architectures were not merely child’s play but may be understood retrospectively as proto-installations, temporary structures that mediated between imagination and actuality, an early rehearsal of the experimental crossings between construction, performance, and image that marked Harth’s mature practice.
A decisive rupture, almost an initiation ritual into modern art, occurred in 1958 when his elder brother Dietrich took him to a Dada exhibition in Frankfurt am Main. The timing was crucial: postwar Germany was only just beginning to reopen itself to the radical avant-gardes suppressed under fascism. For the young Harth, Dada presented not only a set of provocative images but also the lived possibility that art could destabilize categories, break down hierarchies, and operate conceptually as much as materially. The work The Navel—a simple black dot on white paper, accompanied by a title that displaced perception into language—sharpened this awareness. What mattered was not the mark itself but the dynamic between sign and referent, artwork and its commentary. The epiphany here was not aesthetic pleasure in the traditional sense but recognition of art as a space of thought, irony, and intellectual tension. This was nothing less than the beginning of a lifelong trajectory in which Harth would consistently return to the interface of sound, image, and idea.
In the following years, Harth immersed himself with voracity in every available art medium. School courses gave him the discipline of drawing, painting, and craft; his own appetite for performance led him to stage small situations, often masked or disguised, anticipating the performative interventions of the happening movement. The acquisition of his first camera at twelve extended his field into visual experimentation, while his pencil drawings of jazz musicians revealed both his growing fascination with musical improvisation and his awareness of biography as a narrative lens for art. What is striking here is the simultaneity of practices—music, drawing, performance, photography—that refused to be subordinated to a single discipline. Even before formal professional training, Harth was cultivating a polymorphic artistic identity in the spirit of the avant-garde.
The turn at fifteen to oil painting coincided with a parallel transformation in music: the gift of a tenor saxophone by his parents, an instrument that would guide him into deep engagement with jazz and improvisation. This was not simply the adoption of a hobby but the entry point into an emerging identity as a musician-artist, one who would soon refuse to see music and art as separated categories. Music, drawing, film, and conceptual play converged into a holistic practice that aligned with the growing international awareness of intermedia arts in the 1960s.
Attending the Goethe Gymnasium in his final school years refined this eclecticism. As an art-focused program with an ambition to train future cultural producers, it provided him with a sweeping introduction to international avant-garde currents, from Informel painting and Fluxus to Concept Art and experimental film. What Harth absorbed was not only technique but also a certain intellectual ecology: Frankfurt at that time was a city where cultural exchange, experimental music, and critical thought interacted dynamically. Together with Hubertus Gassner, who would later become a prominent museum director, Harth initiated happenings and other art events. Harth and founded the centrum freier cunst. Such a venture signaled more than youthful ambition: it represented the determination to create autonomous platforms for hybrid work when established institutions remained largely indifferent. Here Harth’s music group Just Music performed alongside conceptual and photo-based works, embodying an ethos of cross-disciplinary experimentation that paralleled international movements but arose organically from the Frankfurt milieu.
By the time of his Abitur in 1968, Harth embodied a paradoxical combination: on the one hand, a youthful openness to every medium, on the other, a growing self-awareness of art as critical practice. His decision to study design at the Werkkunstschule Offenbach, later shifting to art pedagogy at Goethe University, should not be misunderstood as a retreat into conventional paths. Rather, it reflects his strategy of grounding avant-garde impulses in a broader discourse of form and teaching. His musical activities expanded concurrently, so that life at this junction became an intense negotiation of study, performance, and conceptual inquiry. Alfred Harth's focus on synästhetic creation was indeed a significant aspect of his artistic approach at that time. He was interested in exploring synaesthesia beyond traditional media like TV, film, or theater, aiming to realize multisensory or synästhetic works that integrated sound, visual elements, and space in novel ways. This approach reflected his broader interest in breaking conventional boundaries of artistic disciplines and engaging the audience in immersive, multi-layered experiences that could not be confined to a single medium or format.
Looking back, one sees that Harth’s early trajectory established key themes of his later career: the refusal of boundaries between disciplines; the privileging of concept and idea over medium-specificity; the creation of autonomous spaces for collaboration beyond institutional frameworks; and, above all, the conviction that art is not an object but a process—often ephemeral, contingent, and dialogic. The boy who once built huts in his parent’s garden was already rehearsing the logic of variation and improvisation that would structure his later works across music, performance, and visual art. To trace these beginnings is to see how Harth’s career was less a matter of progression from one discipline to another than an ongoing movement across media, always oriented toward the space where form touches thought.
Dialectics of Disaster: Earthquakes and State Formation in Latin America
Bildner Center, November 9, 2012
Graduate Center, CUNY
New Zealand, Holland Terror Events. Timing, Purpose and Intended Result. Hegelian Dialectic. Q: Mueller Report, Indictments, De-Class... D-Day. Coincidence? International Pressure on 8chan... Shut Down? Censor? Give-Up Info? HEADS-UP PATRIOTS. #WWG1WGA #WWG1WGAWORLDWIDE t.co/iRSUBRma13 (via Twitter twitter.com/watchmennews911/status/1108099574990860288)
Electrofringe 2009 - Can Dialectics Breakdance? Project Presentation with Sumu Sivanesan and the Sensitive New Age Gang. Photo: Torunn Higgins
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GILLS Barry K. PhD.
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British political scientist and academic.
Professor of Global Politics, University of Newcastle upon Tyne.
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Education: PhD, International Relations, London School of Economics and Political Science 1995.
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Career: Barry Gills is Professor of Global Politics at University of Newcastle upon Tyne. Previously he.
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was Director of the Globalization Research Center at the University of Hawaii, USA from March 2002 until.
August 2003, and concurrently Visiting Research Professor at the Department of Political Science at the.
University of Hawaii at Manoa from 2002-03. His research interests include: globalization, global history,.
historical dialectics, world system theory, international political economy, global civil society and global.
citizenship, historical analysis of social systems and social change, world economic history, globalization.
and the politics of resistance, and the political economy of development. Barry Gills was President of the.
International Studies Association (IPE Section) from 2006-07. He is a core group member of the Global.
Economic History Network and a member of the International Studies Association (IPE Section), the British.
International Studies Association (IPE Group), the Governing Council of the Global Studies Association.
(both UK/Europe and North America), the Globalization Studies Network and a Fellow of the World.
Academy of Art and Science. He is Editor of the Book Series, `Rethinking Globalizations' and Editor of the.
journal Globalizations (see url below)..
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Publications include: `Global Poverty' or `Global Justice`? (editor) 2007, Globalization and Economy,.
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Vol. 1: Global Markets and Capitalism (co-editor) 2007, The Clash of Globalizations: `Empire' or.
`Cosmopolis`? (editor) 2007, The Globalization of Environmental Crisis (co-editor) 2007; numerous articles.
in professional journals.
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Contact details: Address: Room 207, Politics, 40-42 Great North Road, Newcastle University,.
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Newcastle upon Tyne, NE1 7RU, England; Tel: +44 (0)191 222-7742; Fax: +44 (0)191 222-5069;.
Email: b.k.gills@ncl.ac.uk ; Website: www.ncl.ac.uk/geps/ ;.
Website: www.tandf.co.uk/journals/titles/14747731.asp/ ..
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Global Crisis: An Alternative.
Barry GILLS.
British Political Scientist and Academic.
Professor of Global Politics, University of Newcastle and Fellow of the World Academy of Art and.
Science..
His research interests include Globalization; Global History; Historical Dialectics; World System.
theory; International Political Economy; Global Civil Society and Global Citizenship; historical analysis.
of social systems and social change; world economic history; globalization and the politics of.
resistance; the political economy of development. Some of his important publications are Andre.
Gunder Frank. The World System: Five Hundred years or Five Thousand? (2004), `Global Poverty' or.
`Global Justice`? (editor) 2007, Globalization and Economy, Vol. 1: Global Markets and Capitalism.
(co-editor) 2007, The Clash of Globalizations: `Empire' or `Cosmopolis`? (editor) 2007, The.
Globalization of Environmental Crisis (co-editor) 2007.
Chair Prof. Achin Vanaik, noted Political Scientist.
..
A peacock drinking water from the empty foot holes of the upper part of an inscribed statue base. Inscription references: Bean 20, SEG 17, 578.
More details: esintype.com/miscellaneous/a-repurposed-inscription/
There's always something going on here! And if there's not, wait until about 8pm, just after the dinner hour. Everyone in town dresses and goes out for a long walk around the city after dinner, greeting each other with the Guanajuato dialectic "buen'oches." I love it here.
Guanajuato Mexico
Radiating shamanic energy and teeming with personal and mystical symbols is The Hermit. Hovering immediately to the left of the image’s central rectangle is an unnamed tailed urchin-like creature whose appearance recurred frequently in Japaridze’s 2008-2010 drawing and painting cycles.
The continuation of the journey through the mental plane is by no means limited to mindful experiences. It instead considers integration of multi-level experiences building on all that has already ensued on its progression to the spiritual plane. The Hermit, more than any other card, deals with such dialectics as detachment and immersion, introspection and guidance, as the facets of the mind proceed with their dissolution into the oneness of the spirit.
Divinatory Meanings:
Distractions are to be avoided. A goal can be attained.Introspection and contemplation are required. The need for independence and self-awareness. One who may provide guidance or aid.
Drink one of these and you'll be able to pay attention to the movie better. I did and I wrote a 15 page thesis proposal on the Hegelian dialectics of Missile to the Moon by, like, the end of the first reel.
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USS Baker BRRP25-040: "A wee bit of Bother" (250713)
LAST TIME ON STARSHIP BAKER NCC-221B
Captain Toocool waited with rising irritation. “It’s a game,” she replied to Robinette in a steely tone. A game she intended to win. Every second that clicked by gave the warbird an advantage. ‘Come on, come on,’ she murmured. She then forced herself to close her eyes and take a breath. Patience and diligence was the way to catch her prey. Tachyon burst, check. No ship nearby, check. “Thank you Mr Esharham. Full power to inertial dampers. Deflector at optimal. Now, please.” She tapped her combadge - no point in running silent anymore. “All hands, this is the Captain. Prepare for extreme speed.” She looked down at the conn, grasping the back of the chair tighter, “Course 54.37.12. Hit it, Mr Cortez. Warp ten. Stat.”
Ens Cortez: “Warp ten, aye!" The ship surges forth with the command, and as I see the course superimposed by Cato and a smile spreads across my lips. "Clever. They're using the mass of the asteroid to alter their course. Well, we could trim a bit off their lead by cutting straight through the field, but not a good idea." The Baker dodges and dips as it bullrushes its way around the asteroid field in pursuit, closing the gap.
LTCmdr Waterson braces for the high-speed maneuvers, holding tight, until an incoming report causes her to suddenly smile with satisfaction. "Sir, results from the linguistics pattern databanks. Romulan transmission matches Tal Shiar dialectical forms. Their language is highly stylized, rendering dating to any particular era highly difficult, if not impossible. Will continue analysis." Waterson engages more resources from the universal translator. "Maybe we can get a glimpse into what those underhanded Tal Shiar operatives are planning."
LTCmdr Quan bounces in his chair as the inertial dampeners are strained by the stresses of warp ten. "Captain, I am noting ionic fluctuations, and a possible second contact, tactical confirm? The decay period of sensed baryon particles is decreasing, that would suggest we are accelerating at a higher rate of speed than the target. I would calculate they exited the system at sub warp, obeying interstellar law, in that regard." He casts a brief look at Captain Toocool as he bounces in his seat. "Before accelerating to warp 10, which is a much higher speed than the D'deridex- class is rated. I would advise caution - both cloak and engine systems are non-standard, it would be logical to assume weapon systems may be exotic as well."
Capt Esharham reports, "inertial dampers at maximum power Admiral; deflector reset for optimal performance; warp core is doing its thing perfectly.” Even though core temps were rising at a steady pace. Watching the readouts. If they kept up this speed things may not be so comfortably handled. “Admiral, my suggestion is we don’t hold high warp for too long or we might find ourselves in a wee bit of Bother.”
USS Baker roleplays in Second Life Sunday evening (Sigma crew) and Tuesday mornings (Tau crew) to cover several time zones. Read all about us here: forums.ufstarfleet.org/viewforum.php?f=1009
Sorry, I cannot think one-sided. Advancement depends on the dialectic interplay of daring imagination and hard work. Single minded are destined to fall.
Window of the Anne de Villepoix Gallery. Paris, Oct 2009.
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Η Διαλεκτική της Ανοικοδόμησης /Rebuilding Dialectics
24.1 – 16.2.2013
CHEAPART resident 2013 : Salon de Vortex
Evan Holloway (American)
Dialectic, 2006
Cinder blocks, plaster, steel, brass, lighting, and lighting controller
Dr. Scott Andrews, professor in Humanities, and Dr. Sharon Klein, professor in Linguistics, attend Brian Leung's reading of an excerpt from his novel, Take Me Home, which was held Thursday afternoon in Jerome Richfield 319.
Dr. Klein has been a professor in CSUN's English department, specializing in Lingusitics, for over 25 years, and stated she was especially interested to know the dialectic details of Leung's novel.
Anastasia Clemons/Contributor
SITE 2024 Exhibition, Dunedin School of Art, DUNEDIN, NZ.
Awatea Watson
Bachelor of Visual Arts
Painting
My work this year has been primarily concerned with the overwhelming volume of images and ephemera that have built up over time, repurposing waste materials destined for the skip to depict selected images from the past and present that—like the materials, things slowly being forgotten within our shared consciousness—I believe are pertinent to not only understand where we are today but how exactly we got here.
I like to work with a variety of materials and processes, from found objects and resources to more traditional media, to create works that explore political themes while also engaging with humour, historical context and critique. In this series, I have collected a variety of consumerist media—billboard posters, magazines and wall posters—to use in collage. These collages depict images and settings from found photos that individually tell their part while collectively contributing to the overarching theme. While these collages may seem like a random, linear collection of ephemera and imagery, the broader interconnected narratives between the works, as well as the dialectics between the materials, support and coalesce into an interwoven narrative framing of our world.