
It All Started with "Eloise" at the Convent
jeanne's been saying it's time to write a book. Check out the Beginning
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California State University, Dominguez Hills
University of Wisconsin, Parkside
Created: June 16, 2006
Latest Update: June 25, 2006
jeannecurran@habermas.org
takata@uwp.edu
Now a lot of that title consists of code words, jargon we may use professionally, but that we wouldn't expect ordinary folks to have come across. Writing, teaching, and art are all creative activities that require that you break from linear thinking if you are to discover new paths, new directions, new solutions. And since we've been so inept at writing - just check out the latest television programs; teaching - need I say more than No Child Left Behind; and the confusion with which art is dealing with graffiti and museum art and not quite knowing which is which and which belongs where. Besides, I've known for a long time that it was time to start a novel, quasi memoir, but remember I am postmodern. That means that I will not accept even Habermas' contention that we could at least have a maetanarrative for discerning the truth or worthiness of validity claims in governance discourse. No we couldn't. The criteria by which we judge truth and relative merit when it comes to doling out limited resources are solidly situated in the context of power and wealth.
Lyotard argued that there are no metanarratives. I agree with him. I also think there is no such thing as consensus, unless you wish to mean by that phrase coerced consensus, such as George W. Bush runs up the flag pole every now and then in support of his vision, which he considers both "right" and "privileged."
The problem with bureaucracies is that they are run by rules and procedures that the clerks of the system tend to reify. That means the rules take on more importance than the people the rules were designed to make things more pleasant and efficient for. And the trouble with that is that the bureaucracies, in their eagerness to evaluate their services and win a larger market share of whatever they have to entice the consumer, always conscious of the need to update themselves, the better to compete for market share, really do create committees and subcommittees, like those of the House and the Senate and all the Investigatory Commissions designed to make it look like we're doing something until the people get tired of asking us to do something.
I'll bet you're getting the idea that I'm not fond of bureaucracies and their rules, Weber's iron cage. That's what I think he meant by that term, the constraints of the network of rules that limit human initiative and repress creativity in the interest of market efficiency. I think "iron cage" describes my feelings pretty well. Most of our institutions, like schools, turn me into a caged tiger. Saber-Toothed? Well, I'll have to tell you that story, and we'll see.
I started out as a writer. My model was Andre Gide, and, in particular, his Journals. I wanted to tell a story, but not a sensational story in which larger than life characters engaged in larger than life adventures. I wanted to share the bits of frustration and passion that fill the interstices of the time and space capsule most of us come to believe we're trapped in. Francoise Sagan, and Bonjour Tristesse were all the rage at the time that I would have gone to France to write. But that was not what I wanted to write. I didn't go. I know the Chair of my French Department thought he talked me out of it for other reasons. The real reason I didn't go was that I had a husband, a mother, and degrees. It seemed unreasonable, since I would have known only Renee Lang in Paris to take off to a new country, a new culture, an adopted language, when I already had severe doubts about the direction in which literary culture was moving, and had already partially chosen my "outsider" status. I wanted the freedom to develop my own identity, my own personae, my own stories, and I wasn't sure I could manage that in Paris.
So I didn't divorce my husband and fly away to a romantic new life. I was right. If I had to choose again today, I think I would still choose my own path. So you can imagine, after all my musings that it's time to write a book, how shocked I was last week when the book began to write. I have drawings all over the place to illustrate it as it writes, and I have the Web to share it as it happens. I knew that I would understand my retirement soon. I just needed a little time, and the summer is affording it to me.
The book will write itself, from my crazy experiences. Some of it's true, a lot of it probably. Some of it is remembered incorrectly, for memory plays funny tricks on us all. Mostly it's my way of sharing this odd, enormously happy contentment with which I find myself in this first semester of absolute, irrevocable retirement. How did I get from that young lady of the First Communion in New Orleans in the early 40's through the soap opera of popular culture and daily concerns to a comfortable sigh at having made it to the top of the mountain? Socrates would be pleased. Come Fly with My Theory of Everything is just one example of a well-examined life. I invite you to check it out, and maybe even examine your own adventures.
Discussion Questions for Transform_dom:
A narrative that will serve as myth or narrative to describe some part of life for all people. Perspective changes the way we see and accept narratives. Since there are many perspectives, no single narrative can serve for all.
Because, I think, Habermas believes that consensus is a good thing. I believe that consensus is an impossible and unnecessary thing. Consensus is not possible where so many different cultures and sovereign states compete for resources. I prefer to address the problem of consensus from Bakhtin's position, that I must think carefully before I speak, for I must realize that the Other also can speak, gifted with answerability (the voice that permits humans to express themselves) just as I am. To address the problem from the group of Others is to accept and rejoice in the many different voices, with no thought to putting them in an "iron cage." Then creativity will carry us on to new spaces, new times, new perceptions. Consensus has been reified by our concept of the majority vote.
References:
In the process of preparing to post:
Topic of the Week:
in a Postmodern Context
Don't forget the Exhibit at Mixografia
1419 East Adams Blvd. Los Angeles, CA 90011 www.mixografia.com
May 13 - June 30, 2006 . . . . 323-232-1158
You'll have a whole month to catch this exhibit. Should be fun.
New Materials on the Dada Art Movement
For more on understanding why and how artists engage in the process of trying to change traditional museum-bound painting, go to Dada as Arts Politically and Socially Opposed to Some of the Consequences of Our Culture and Our Preference for the Rational and The Arrogance of its Knowingness. And don't miss Paul Tractman's Dada, The Irreverent, Rowdy Revolution in the May 2006 Smithsonian Magazine Online. Backup. And now 'Dada' at MoMA: The Moment When Artists Took Over the Asylum By Michael Kimmelman, New York Times, June 16, 2006.

Louise Benoit, left, and her sister Rebecca, who were badly burned in a house fire that killed five relatives, with portraits by an artist in Hoboken, N.J. from Facing Their Scars, and Finding Beauty
Reference: Backup of Facing Their Scars, and Finding Beauty.
A Range of Sources on Global Info
Memorandum, Political Web - Diggs - College Network of New York Times - New York Times Learning Network
Indymedia - Mother Jones - BBC News - New Profile - KPFK Progressive Radio
Progressive Sociologists Network Environmental Working Group - Mirror of Justice
Theory, Policy, Practice of a Career by jeanne and Susan.