Monday, September 27, 2010
Experience: I spent 29 years in solitary confinement | Robert King | Life and style | The Guardian
Experience: I spent 29 years in solitary confinement | Robert King | Life and style | The Guardian:
It was a dimly lit box, 9ft by 6ft, with bars at the front facing on to the bare cement walls of a long corridor. Inside was a narrow bed, a toilet, a fixed table and chair, and an air vent set into the back wall.
Some days I would pace up and down and from left to right for hours, counting to myself. I learned to know every inch of the cell. Maybe I looked crazy walking back and forth like some trapped animal, but I had no choice – I needed to feel in control of my space.
At times I felt an anguish that is hard to put into words. To live 24/7 in a box, year after year, without the possibility of parole, probation or the suspension of sentence is a terrible thing to endure.
It was a dimly lit box, 9ft by 6ft, with bars at the front facing on to the bare cement walls of a long corridor. Inside was a narrow bed, a toilet, a fixed table and chair, and an air vent set into the back wall.
Some days I would pace up and down and from left to right for hours, counting to myself. I learned to know every inch of the cell. Maybe I looked crazy walking back and forth like some trapped animal, but I had no choice – I needed to feel in control of my space.
At times I felt an anguish that is hard to put into words. To live 24/7 in a box, year after year, without the possibility of parole, probation or the suspension of sentence is a terrible thing to endure.
Fraser Speirs - Blog - The iPad Project: How It's Going
Fraser Speirs - Blog - The iPad Project: How It's Going:
What we're reaching in some classes is the transformation stage. We're seeing the iPad completely change the way that certain subjects are taught. Our best example so far is Art. I will write and share more about what we're doing in Art over time but it's fair to say that it is already far beyond anything I expected in the first year, let alone the first month.
At this point, all I can give you are some practical anecdotes which, I hope, will give you a flavour of the change.
—I picked up a ream of printer paper yesterday. It had dust on top of it.
—Primary 2 pupils have now memorised their passwords. That's not something that happens when they get 40 minutes a week on computers.
—Last week, we couldn't get the Primary 3 pupils to stop doing maths and go for lunch.
—My daughter April asked me if I could install the educational apps from school on my iPad so she could use them at home.
—We're seeing a reduction in the amount of homework forgotten or not done.
—"Forgetting your folder" for a subject is now a thing of the past.
What we're reaching in some classes is the transformation stage. We're seeing the iPad completely change the way that certain subjects are taught. Our best example so far is Art. I will write and share more about what we're doing in Art over time but it's fair to say that it is already far beyond anything I expected in the first year, let alone the first month.
At this point, all I can give you are some practical anecdotes which, I hope, will give you a flavour of the change.
—I picked up a ream of printer paper yesterday. It had dust on top of it.
—Primary 2 pupils have now memorised their passwords. That's not something that happens when they get 40 minutes a week on computers.
—Last week, we couldn't get the Primary 3 pupils to stop doing maths and go for lunch.
—My daughter April asked me if I could install the educational apps from school on my iPad so she could use them at home.
—We're seeing a reduction in the amount of homework forgotten or not done.
—"Forgetting your folder" for a subject is now a thing of the past.
Saturday, September 18, 2010
You Don’t Get 500 Million Friends, Apparently, Without Chewing a Lot of Scenery | techyum ::
You Don’t Get 500 Million Friends, Apparently, Without Chewing a Lot of Scenery | techyum :::
But the FIRST rule of The Social Network is that you do not tell anyone about The Social Network; furthermore, you want The Social Network? You can’t handle The Social Network
Yes, this puppy is helmed by Fight Club and Se7ven director David Fincher, and if that’s not enough to make you want to cram Gwyneth Paltrow’s head in a box, it’s penned by A Few Good Men and West Wing writer Aaron Sorkin.
Did I just call Aaron Sorkin and David Fincher a “pirate army of douchebags?” Why yes, yes I did, and as they tack their rampant prows, load up their punt guns and wave their swarthy cutlasses in my general direction let me observe that I am doubtless alone in my utter disregard for the talents of either Fincher or Sorkin, both of whom at various times have I loved and lost, and both of whom at other times I’ve wanted to punch.
But the FIRST rule of The Social Network is that you do not tell anyone about The Social Network; furthermore, you want The Social Network? You can’t handle The Social Network
Yes, this puppy is helmed by Fight Club and Se7ven director David Fincher, and if that’s not enough to make you want to cram Gwyneth Paltrow’s head in a box, it’s penned by A Few Good Men and West Wing writer Aaron Sorkin.
Did I just call Aaron Sorkin and David Fincher a “pirate army of douchebags?” Why yes, yes I did, and as they tack their rampant prows, load up their punt guns and wave their swarthy cutlasses in my general direction let me observe that I am doubtless alone in my utter disregard for the talents of either Fincher or Sorkin, both of whom at various times have I loved and lost, and both of whom at other times I’ve wanted to punch.
Friday, September 17, 2010
arts dispatch: TBA festival: Why it matters
arts dispatch: TBA festival: Why it matters:
Free, we start building prisons for ourselves -- we want strong leaders, we want to avoid voting, we want to return to conventional wisdom or power politics or survival of the fittest or the religious nation. Free, our artists stake out their territory, defend it against all comers, seek to align themselves with power in the society.
Or so it has often been. In the instability of our present time, though, I find some signs of hope, a commitment to freedom. And I find that at TBA, in general and in the particular artists I've seen perform -- Mike Daisey, Maria Hassabi, Conor Lovett.
Daisey dealt with social justice issues seated at a desk, using the needle of wit and the broad strokes of slapstick (yes, even though he was seated, somehow). Hassabi transformed what we might perceive as weakness and even silliness in women's social attitudes and gestures (the actress, model, painted subject) into something powerful and engaging. Lovett channeled the deep skepticism of Samuel Beckett and at the same time Beckett's relentless pursuit of something true about the world, about us, about himself.
They attempted to see the world as clearly as they could; they sought a practice that allowed them to convey this material (an Adorno word) in a fresh way, unencrusted by the conventions of monologue or dance or theater. Their performances found their own logic, coherence, consistency. We never knew what to expect next. We believed them. We found inspiration in their freedom.
Free, we start building prisons for ourselves -- we want strong leaders, we want to avoid voting, we want to return to conventional wisdom or power politics or survival of the fittest or the religious nation. Free, our artists stake out their territory, defend it against all comers, seek to align themselves with power in the society.
Or so it has often been. In the instability of our present time, though, I find some signs of hope, a commitment to freedom. And I find that at TBA, in general and in the particular artists I've seen perform -- Mike Daisey, Maria Hassabi, Conor Lovett.
Daisey dealt with social justice issues seated at a desk, using the needle of wit and the broad strokes of slapstick (yes, even though he was seated, somehow). Hassabi transformed what we might perceive as weakness and even silliness in women's social attitudes and gestures (the actress, model, painted subject) into something powerful and engaging. Lovett channeled the deep skepticism of Samuel Beckett and at the same time Beckett's relentless pursuit of something true about the world, about us, about himself.
They attempted to see the world as clearly as they could; they sought a practice that allowed them to convey this material (an Adorno word) in a fresh way, unencrusted by the conventions of monologue or dance or theater. Their performances found their own logic, coherence, consistency. We never knew what to expect next. We believed them. We found inspiration in their freedom.
Stone Cold Steve Megan: Mike Daisey @ T:BA:10
Stone Cold Steve Megan: Mike Daisey @ T:BA:10:
When we left, we were talking about sending an email to Steve Jobs about the dismal conditions of the Chinese workers who make his products. I haven't written that email yet, but I'm going to. Daisey made me feel like I can make a difference...which is a great, if seemingly hokey, sentiment for people to take away from a show. I haven't felt so inspired to actually act on something in a long time.
When we left, we were talking about sending an email to Steve Jobs about the dismal conditions of the Chinese workers who make his products. I haven't written that email yet, but I'm going to. Daisey made me feel like I can make a difference...which is a great, if seemingly hokey, sentiment for people to take away from a show. I haven't felt so inspired to actually act on something in a long time.
Do You Use Technology? Then Don't Miss Mike Daisey's The Agony and the Ecstasy of Steve Jobs. | TBA | Portland Mercury
Do You Use Technology? Then Don't Miss Mike Daisey's The Agony and the Ecstasy of Steve Jobs. | TBA | Portland Mercury:
I have a hard time imagining Mike Daisey's The Agony and the Ecstasy of Steve Jobs won't be one of the best shows at TBA this year, if not the best show. I know this TBA's still young, and that there'll be plenty of good, even great stuff to come—but goddamn. I've seen three or four performances of Daisey's over the past few years, and this is handily the best—the most powerful, relevant, funniest, and harrowing. This is a show that, if you let it, has the power to change the way you think—a show that can alter the ways you use and consider the fundamental communication devices of our time.
I have a hard time imagining Mike Daisey's The Agony and the Ecstasy of Steve Jobs won't be one of the best shows at TBA this year, if not the best show. I know this TBA's still young, and that there'll be plenty of good, even great stuff to come—but goddamn. I've seen three or four performances of Daisey's over the past few years, and this is handily the best—the most powerful, relevant, funniest, and harrowing. This is a show that, if you let it, has the power to change the way you think—a show that can alter the ways you use and consider the fundamental communication devices of our time.
Call Apple, Inc., and Request the Truth. (TBA On Stage: Mike Daisey) - PICA
Call Apple, Inc., and Request the Truth. (TBA On Stage: Mike Daisey) - PICA:
For about twenty years, I have known that Mike Daisey is a fantastic actor. For about ten years, I've known that he's an absolutely brilliant writer and monologist. He's hilarious, scathing when due, but sensitive as well. I have cried, and cried laughing during his former works, trying not to laugh out loud too long, so as not to miss a word. I knew I would both crack up and be moved by his show tonight about Apple, Inc. and its co-founder, Steve Jobs. I knew all these things. What I did not know is that it would be one of the most empowering and eye-opening pieces of theater I've ever seen.
For about twenty years, I have known that Mike Daisey is a fantastic actor. For about ten years, I've known that he's an absolutely brilliant writer and monologist. He's hilarious, scathing when due, but sensitive as well. I have cried, and cried laughing during his former works, trying not to laugh out loud too long, so as not to miss a word. I knew I would both crack up and be moved by his show tonight about Apple, Inc. and its co-founder, Steve Jobs. I knew all these things. What I did not know is that it would be one of the most empowering and eye-opening pieces of theater I've ever seen.
Monday, September 06, 2010
Op-Ed Columnist - 1938 in 2010 - NYTimes.com
Op-Ed Columnist - 1938 in 2010 - NYTimes.com:
I had hoped that we would do better this time. But it turns out that politicians and economists alike have spent decades unlearning the lessons of the 1930s, and are determined to repeat all the old mistakes. And it’s slightly sickening to realize that the big winners in the midterm elections are likely to be the very people who first got us into this mess, then did everything in their power to block action to get us out.
I had hoped that we would do better this time. But it turns out that politicians and economists alike have spent decades unlearning the lessons of the 1930s, and are determined to repeat all the old mistakes. And it’s slightly sickening to realize that the big winners in the midterm elections are likely to be the very people who first got us into this mess, then did everything in their power to block action to get us out.
