Tuesday, February 27, 2018

ANTHROPOLOGY 281--The Rabble With PhDs--FAILURE TO COMMUNICATE

ANTH 281.1001
Dr J Ferguson
University of Nevada, Reno
Spring 2018
27 F 18


  When incapable of straight communication in the real world, academicians will invent a language with pseudo-scientific terminology in an effort to rationalize the complex nature of understanding one another. They will search high and low, in Native American cultures, sit in igloos and attempt to decipher what the Eskimos are saying, or perhaps take a trip to Siberia and be entertained by the myriad of tongues and dialects spoken there. One comes away from all of this with one question, what purpose does all of this serve?

     As a former literary agent for the Writers Guild of America, West, I read several hundred screenplays, graded them and sent them back to the writers offering either rejection or representation. The rejects were due primarily to, as Strother Martin, playing the role of Captain in Cool Hand Luke (1967), so adroitly put it,

   "What we've got here..is, failure to communicate."

   Most of that failure came from bad grammar, lazy and sloppy screenwriting, and using cheap pidgin and Spanglish type languages. All of the above are what's being touted as something special in linguistic anthropology. It may be fine for the aerospace and health industries, but is unacceptable in a field where communication IS the art form. To what degree are there an unlimited number of jobs in aerospace that some degree of multilingualism is necessary. On the contrary, succinct and precise understanding in a superior language would be far more desirable than the rabble with PhDs all talking in their native tongues.

(The 250-400 word limit of this submission has been reached).


Monday, February 26, 2018

ANTHROPOLOGY 281--Immersion Film Analysis--CHATEAUROUX ET SAVOIR FAIRE

ANTH 281.1001
Dr J Ferguson
University of Nevada, Reno
Spring 2018
JCL

"Speaking in Tongues"--A Documentary--

    Criticism for any program (or film) of this type may or may not be based just on societal fears and prejudices. Considering the number of states with official language as English, it is not surprising that there would be some sort of backlash to programs, such as immersion, that would draw a negative reaction.

    In class following the film, I suggested there may not be a real economic value in a bilingual program. In no way did I insinuate a prejudiced attitude; nor did I , or am I, afraid of any such program. As a child growing up in the US Air Force, my family was stationed in Chateauroux, France where I was immersed in an early education bilingual class in 1956, long before these "pilot" programs existed in the United States. I am very familiar with the benefits of the program.

    My concern in class, which drew a great deal of negative reaction from fellow classmates, was the overall usefulness of a second language where the economy just does not have the jobs to accommodate those who succeed in the immersion program. My fellow classmates are all young, have not had the opportunity to explore many of the experiences in life I was fortunate enough to have, like living in a foreign country and immersed in a bilingual class.

    Currently, at the University of Nevada, I am fortunate enough to be enrolled in a second language class, again, French. I wouldn't trade it for the world. No prejudice or economic factor could influence how excited I am to be given another chance at learning a second language.

   If any criticism is to be directed, it would be at those who draw incorrect inferences from genuine concerns.


On the Little League team, Chateauroux, France 1956

ANTHROPOLOGY 281--"Speaking in Tongues"--A Documentary--IMMERSION SAVOIR FAIRE

ANTH 281.1001
Dr J Ferguson
University of Nevada, Reno
Spring 2018
JCL

    Criticism for any film of this type may or may not be based just on societal fears and prejudices. Considering the number of states with official language as English, it is not surprising that there would be some sort of backlash to programs, such as immersion, that would draw a negative reaction.

    In class following the film, I suggested there may not be a real economic value in a bilingual program. In no way did I insinuate a prejudiced attitude; nor did I , or am I, afraid of any such program. As a child growing up in the US Air Force, my family was stationed in Chateauroux, France where I was immersed in an early education bilingual class in 1956, long before these "pilot" programs existed in the United States. I am very familiar with the benefits of the program.

    My concern in class, which drew a great deal of negative reaction from fellow classmates, was the overall usefulness of a second language where the economy just does not have the jobs to accommodate those who succeed in the immersion program. My fellow classmates are all young, have not had the opportunity to explore many of the experiences in life I was fortunate enough to have, like living in a foreign country and immersed in a bi-lingual class.

    Currently, at the University of Nevada, I am fortunate enough to be enrolled in a second language class, again, French. I wouldn't trade it for the world. No prejudice or economic factor could influence how excited I am to be given another chance at learning a second language.

   If any criticism is to be directed, it would be at those who draw incorrect inferences from genuine concerns.




 
On the Little League team in France, 1956

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Tuesday, February 20, 2018

DANCE 101.1001--Choreographing/Labanotation --WEST SIDE STORY (1961)

DAN 101.1001
Prof EA Garza
University of Nevada, Reno
Spring 2018 2/20/18
James Langelle

DANCE 101.1001--Choreographing/Labanotation --WEST SIDE STORY (1961)

Following results by an export from DAZ Studio to Blender. Export the Genesis 2 starter (male or female) in Collada (.dae) to Blender. Apply an armature- root node to the imported file. Note the limited number of movements (translation, rotation, animation) allowed at DAZ Studio that can be augmented on Blender--

 


The scene image is from West Side Story (1961) and imported into Blender, but a clip of the particular sequence can be broken down into a series of still images on Blender and the resultant frame-by-frame animation choreographed into a kinetographic notator such as the Laban Notator:





There exists therefore, the capability of more closely following the movements of the performer and plotting them according to standardized choreographic procedure.




The following components and programs are listed:


DAZ Studio--This program comes with various built-in "people" and a limited number of accessories and costumes. It also has a limited number of operations.

Blender- A dynamic program that allows for any given number of import-export formats as well as the ability to create armatures in order to make the characters move and become animated through a sequence.

Laban Notator--The basic choreographing program with most of the notations in a drag-and-drop format.

There are other programs available but these are basic, easy to use and have interface capabilities which make them ideal for the student-choreographer looking to achieve a greater understanding of the complex study of dance movement.

Tuesday, February 13, 2018

ANTHROPOLOGY 281--Duranti Greetings Analysis--WE WERE SOLDIERS (2002)--"THE TELEGRAM"


Dr J Ferguson
University of Nevada, Reno
Spring 2018
James Langelle

“We Were Soldiers” (2002) Directed by Randall Wallace--“The Telegram”


JULIE (Madeleine Stowe), the wife of Lt Col Hal Moore (Mel Gibson), is at her home on a military base, presumably Fort Benning, GA, and is quietly looking at a variety of photos of her family. The Colonel is in Vietnam and his unit, the 7th Cavalry, has just engaged a large force of NVA regulars in the La Drang Valley, it is late November, 1965. As she is carefully going over the framed photos, a yellow taxi pulls to a stop outside. JULIE sees the taxi, falls down, tightly holding a rosary and senses ominous news as the doorbell rings: The CABBIE (uncredited in film)   is at the doorway, JULIE goes to the door and answers. The CABBIE is at the door holding a telegram and removes his hat as JULIE answers.


CABBIE  Mrs. Moore? (pause as JULIE approaches screen door) Col. Moore’s wife?
JULIE    (quietly and with blank expression) Yes.
CABBIE  (looking at the telegram)  I need help finding an address.
JULIE   (screaming) Address!!   Do you know what this is!!
CABBIE stares, looks down dumbfounded.
JULIE     (screaming) Do you know what you just did to me!!
Silence as CABBIE shakes his head and looks down. CABBIE walks back down the steps, holding telegram and hat in hands. CABBIE stops, turns around, waves telegram in left hand, hat in right hand.


CABBIE  (apologetic)  I..I don’t like this job, Ma’am.. (pause) Just tryin' to do it.
CABBIE puts his head down, turns around, walks slowly down sidewalk back to taxi.
JULIE   (authority in voice) . WAIT..! (opens screen door, goes down steps) Wait !
CABBIE, with hat on head, stops, turns around, JULIE catches up with and confronts him.
JULIE   I’ll take it to her. (closeup shot of JULIE taking telegram from CABBIE)
JULIE   (Calm but firm)  And tell the cab company if there are any others, bring them to me.
CABBIE nods silently, lowers head, turns around, walks back to taxi.  JULIE silently examines the name and address on the telegram.


The scene can be found on the internet:  “The Telegram”--


The Duranti Greetings Analysis is as follows:
a.)  Near boundary:  occurs when they are face to face at the screen door.
b.)  Shared perceptual field:  as CABBIE and JULIE share the same scene.
c.)  Adjacency pairs: at least one did not occur when the CABBIE apologetically remarks
        “I don’t like this job Ma’am”
d.)  Relative predictability: JULIE has completely misread the CABBIE’S intentions, thinking the telegram was for her.
e.)  Spatiotemporal: although the scene as a stand alone does not totally convey the seriousness of the contact, the viewer senses something about the telegram that is ominous, more than likely, very bad news.
f.)  Identification of the interlocutor: It is an accidental encounter due to the CABBIE unable to locate the address on the telegram. JULIE completely misreads the intentions of the CABBIE and reacts accordingly.  Following the CABBIE’S retreat, JULIE repairs the encounter and makes the necessary adjustments in the adjacency to reconcile the grave error made by the CABBIE.
   




Friday, February 9, 2018

ANTHROPOLOGY 281/1001--Duranti Conversational Analysis (CA) Essay--"DR. NO" (1962): THE BACCARAT SCENE

ANTH 281-1000
Dr. J. Ferguson
University of Nevada, Reno
Spring 2018

 Dr. No, (1962), Directed by Terence Young --

Conversation Analysis (CA):  A.  Duranti Method


SYLVIA TRENCH--

http://jamesbond.wikia.com/wiki/Sylvia_Trench  


SYLVIA001-- (Time-2:47) The You Tube sequence.


Eunice Grayson plays the role of SYLVIA TRENCH, seated in a stunning red dress, with red lipstick to match, playing baccarat in “Le Circle” -Les Ambassadeurs Club in London. Her OPPONENT in the game is not immediately revealed. https://en.wikipedia.org/wiki/Eunice_Gayson




The dialogue from the scene follows:

SYLVIA: Card

Her OPPONENT at the table shows a Jack of Clubs and Eight of Diamonds. SYLVIA shows her cards, a Queen of Clubs and a Two of Hearts. The BANKER sits next to SYLVIA as she demands another hand be dealt.

SYLVIA  The house will cover, (not intelligible)..?

BANKER: Oui, Madame.  (pause)  Oui, Masseur, charges sil vous plait.

OPPONENT, still out of sight, deals another round from the card shoe.

SYLVIA  Card.

BANKER  Card, Sir.

This time the OPPONENT reveals a King of Clubs and a Nine of Hearts; SYLVIA throws in the cards without revealing her hand.

SYLVIA   I need another Thousand..

The OPPONENT (still off camera) , removes a cigarette from a chrome case

OPPONENT I admire your courage, Miss ...uh… (pause)

SYLVIA (writing a check) Trench, Sylvia Trench. I admire your luck, Mr.,.. (pause)

OPPONENT  (close face shot, lighting cigarette with a lighter)   Bond, James Bond.




The scene continues with SYLVIA suggesting to raise the limit, another hand is dealt and it appears the overall greeting-introduction has reached a climax. The STEWARD  interrupts and 007 leaves the table, soon trailed by SYLVIA. Small talk ensues about a further rendezvous and the scene gradually comes to a conclusion.

Duranti  Conversational Analysis:


    The pause, lighting of the cigarette with the  introductory clause,


                                   “Bond.., James Bond.”


     is the single most signature statement ever made in a 007 film. It doesn’t happen at the beginning of the film, there is no formal greeting of SYLVIA with BOND; the introduction serves as the greeting. The iconic James Bond music theme gradually creeps into the scene as 007 introduces himself. There probably is no better introduction style greeting ever made in any other film. James Bond was a nobody when the film was released in 1962. I saw it as a second run feature at the Midway Drive In on South Virginia St, now an indoor cinema next to the sprawling Peppermill Casino, then just a little pancake house next to a dirt lot. The film was years ahead of its time and paved the way for spy thrillers for years to come.


    To this day, no one has matched a James Bond film in its long running history, through the many stars who portrayed the role. But it was Sean Connery who carried the iconic image of 007 far better than anyone of his successors, and it was due to the very first scene where he introduced the character to the world, in three simple words. The multimodal gesture of lighting the cigarette, combined with the rather amused stone-cold, self-confident expression on Connery’s face assures the viewer that Bond will be the central figure in the action adventure thriller. Sylvia becomes his first girlfriend, but not his last, in the film


    His third girlfriend, a rising star Ursula Andress, clad in a bikini, Honey Ryder introduces herself but leave it to say when she asks 007 his name in this introductory greeting, he abbreviates it to “James.”


    What can we learn from the initial, iconic greeting by 007 in the baccarat scene? The Duranti analysis is as follows:


Adjacency, they were sitting across the table in a crowded casino, the scene unfolded with the a plaque on the exterior of the club, while inside a STEWARD carries a message to the table; but waits to deliver as the game is in full progress.

Reciprocity in the conversation is initiated only after SYLVIA loses two hands and requests more money to play; it is here that BOND first speaks,  

The near-boundary and shared perceptual field are already established in the scene; SYLVIA appears to be the interlocutor.

Adjacency Pair occurs when 007 first speaks.
Relative Predictability of Format appears to be moot at least until the three words are introduced that identifies the recipient. The fact that the James Bond theme plays in the background signifies that the interlocutor may not be SYLVIA at all.
In fact the formulaic interpretation of the predictability component has no bearing on this unique interchange of conversation. Certainly one could expect a reciprocation when SYLVIA  asks 007 his name, but the scene stands as a unique paradox in the introduction of a film character that would stand the test of time for decades to come. Here we have an example of a rather mundane conversational exchange being completely outclassed by the delivery performance of Sean Connery, who in a simple response established, without a doubt,  the qualitative norm for an introductory greeting.

  In conclusion, no matter how many times the viewer watches the scene, it is unique in every aspect, unparalleled in conversation exchange, with a minimum  of delivery. The screenwriters were Richard Maibaum, Johanna Harwood and Berkely Mather (https://en.wikipedia.org/wiki/Dr._No_(film) but is unclear who drafted the sequence. If anyone needed an introduction to 007, there is no better than this scene.

Thursday, February 8, 2018

ANTH 281-1000 --Graphing the Adjacency Greeting--RUDIMENTARY

Following illustrates graphically, though rudimentary, an adjacency encounter plotted on a graph.



Wednesday, February 7, 2018

ENG 102-1105--"Requiem for a Champ"--Reverse Outline/Reflection--JUNE JORDAN ON MIKE TYSON

ENG 102-1105
Prof M Judd
University of Nevada, Reno
Spring 2018
James Langelle


"Requiem for a Champ", June Jordan--Reverse Outline & Reflection


Reverse Outline:


  1. Description of the boxer’s neighborhood in Brooklyn
  2. The neighborhood appearance only slightly changed with the weather conditions.
  3. Jordan visualizes what the boxer might have seen as he was growing up in the neighborhood.
  4. A brief paragraph on the odds of success.
  5. It was the boxer’s background and upbringing that made him what he is.
  6. The writer showing empathy for the subject, painfully.


Reflection:


    There is no doubt that the professional heavyweight boxer and one-time champion suffered from an inferiority complex, not with his physical ability, but with the opposite sex. His career, the personal one, is marred with a string of sexual abuse and assault cases, including the one that sent him to prison for rape in 1992. Whether this was the result of his childhood in the neighborhood alluded to in “Requiem” or a victim of his phenomenal success and the wealth that it brought, will probably have to be assessed at a later time.
   In recent years, the champ has followed the path so many star athletes have, that of success beyond their dreams; only to find themselves bankrupt in old age, doing cheesy commercials in faraway places like Australia, as in Tyson’s case.
    June Jordan’s brief article serves not just as a  freestyle poetic reminder of where success often leads, but a warning to take advice from what a friend of mine once told me,
    “Be nice to people on the way up, you may run into them on the way back down.”


References:
“Chronology of Mike Tyson”, Las Vegas Sun, Sept. 18, 1998
(The advice came from Don Gomez, Journalist, Author)






Sunday, February 4, 2018

ANTHROPOLOGY 281/1005--Week Three Assignment--CHARLIE CHAN, BEATNIKS & SAMOANS

ANTH 281-1005
Dr. J Ferguson
University of Nevada, Reno
Spring 2018

Politeness--Involvement/Restraint
 
    Heard all too often today is the expression “Thank you so much”, and in many cases the fine line of ambiguity between polite and sarcastic (restrained)  is often blurred. Suffice it to say that the expression may not have originated in the English language at all and can be attributed cross-culturally to Sidney Toler’s role as “Charlie Chan” in his many portrayals as the Chinese detective in the late 30’s and early 40’s


  
     Three Different Contextual Representations of the Same Thing:
 
    Although the following doesn’t necessarily represent a plea, apology or excuse, it is nonetheless and example of a bona-fide contextual interpretation of a given expression:

   Whether it was Kerouac, Kaufman, Ginsburg or Caen who came up with the phrase,  “The Beat Generation” (and its  derivative “beatnik”)  meant many things to different people. To Post-Korean War veterans, the term meant “beaten”, weary, over-it-all. The jazz musicians of the 50’s era indirectly considered it a reference to their particular unique style of music. Still others considered it an envied lifestyle, replete with its own brand of dress, poetry, culture and language.


     
 
Samoan vs. American Greetings Comparisons:
 
     It is clear there is a more formal hierarchy of greetings in Samoan culture as exemplified by the lack of consideration for children in the community. What wasn’t made clear in the Duranti article was another of his works, “Linguistic Anthropology, A Reader” (Blackwell Publishing, 2009). Here, Duranti editorializes the Benjamin Bailey article on “interethnic” communication in a Culver City Korean store. The encounters were between the Korean store owner, other Koreans and African-Americans and referred to the above involvement-restraint politeness service encounters between them. In the Samoan observations, the encounters were not cross-cultural and therefore lacked a genuine base of comparison except within the circle of the community.