Terrorist Use of the Internet: This, in essence, is why terrorism and the media enjoy a symbiotic relationship. They select targets, location, and timing according to media preferences, trying to satisfy criteria for newsworthiness, media timetables, and deadlines. Terrorism and the Internet are related in two ways.
This story has many variants, religious and secular, scientific, economic and mystic. It is the story of human centrality, of a species destined to be lord of all it surveys, unconfined by the limits that apply to other, lesser creatures.
What makes this story so dangerous is that, for the most part, we have forgotten that it is a story. Humans have always lived by stories, and those with skill in telling them have been treated with respect and, often, a certain wariness.
With stories, with art, with symbols and layers of meaning, we stalk those elusive aspects of reality that go undreamed of in our philosophy. The storyteller weaves the mysterious into the fabric of life, lacing it with the comic, the tragic, the obscene, making safe paths through dangerous territory.
Yet as the myth of civilisation deepened its grip on our thinking, borrowing the guise of science and reason, we began to deny Response paper metaphors we live role of stories, to dismiss their power as something primitive, childish, outgrown. Religion, that bag of myths and mysteries, birthplace of the theatre, was straightened out into a framework of universal laws and moral account-keeping.
The dream visions of the Middle Ages became the nonsense stories of Victorian childhood. In the age of the novel, stories were no longer the way to approach the deep truths of the world, so much as a way to pass time on a train journey. It is hard, today, to imagine that the word of a poet was once feared by a king.
Yet for all this, our world is still shaped by stories. Through television, film, novels and video games, we may be more thoroughly bombarded with narrative material than any people that ever lived. What is peculiar, however, is the carelessness with which these stories are channelled at us — as entertainment, a distraction from daily life, something to hold our attention to the other side of the ad break.
There is little sense that these things make up the equipment by which we navigate reality.
On the other hand, there are the serious stories told by economists, politicians, geneticists and corporate leaders.
These are not presented as stories at all, but as direct accounts of how the world is. Choose between competing versions, then fight with those who chose differently. The ensuing conflicts play out on early morning radio, in afternoon debates and late night television pundit wars.
And yet, for all the noise, what is striking is how much the opposing sides agree on: So we find ourselves, our ways of telling unbalanced, trapped inside a runaway narrative, headed for the worst kind of encounter with reality.
In such a moment, writers, artists, poets and storytellers of all kinds have a critical role to play. Creativity remains the most uncontrollable of human forces: Words and images can change minds, hearts, even the course of history.
Their makers shape the stories people carry through their lives, unearth old ones and breathe them back to life, add new twists, point to unexpected endings. It is time to pick up the threads and make the stories new, as they must always be made new, starting from where we are.Update: Showing how little I paid attention to the small print in the front of the book — then or now, at least compared to every other sleuth swearing by this one page as “proof” we wrote pure non-satirical non-fiction factual facts — the name Johnny Chen (one of our fake personas) is listed as a contributor on the very same page that declares the book “non-fiction”.
Here, we can clearly see the self-reflective tendencies, in which the poet discusses how many more lines he needs to finish a traditional sonnet (lines ), he directly comments on the traditional subject-matter of the sonnet, the rejected love of the speaker (alluded to in line 3), he adds an amusing allusion to the normal requirements of rhyme, meter and iambic pentameter, which the poet.
In the #commoncore Project, authors Jonathan Supovitz, Alan Daly, Miguel del Fresno and Christian Kolouch examine the intense debate surrounding the Common Core State Standards education reform as it played out on Twitter.
Response to Lakoff and Johnson's book Metaphors We Live By It is really amazing when we come to some reality that changes the way we look at life.
Funny how “look at life” is a metaphor that I wouldn’t have paid attention if I didn’t read the book, Metaphors We Live By. The Accessible Icon Project is an ongoing work of design activism. It starts with a graphic icon, free for use in the public domain, and continues its work as a collaboration among people with disabilities and their allies toward a more accessible world.
1. Embodied vs Traditional Cognitive Science. Consider four evocative examples of phenomena that have motivated embodied cognitive science. We typically gesture when we speak to one another, and gesturing facilitates not just communication but language processing itself (McNeill ).