Saturday, September 29, 2018

#RSJ108--Challenge 2 - "You Do You" Revisited--COMMENTS//RESPONSES

Challenge 2 - You Do You Revisited
Part A: Design
Part B: Documentation
Colors in my "You Do You" (Revisited) Challenge
#AE9F82--"Hillary"  (The Background)
#CCC9C2--"Cloud"  (The Cowboy Hat)
#B36E4F--"Santa Fe"  (The Locomotive)
#7F5E3D--"Spicy Mix"--(The Cactus)
(Background Image Courtesy: 4rail.net)

What would you do differently?  The image of "Me" does not cover enough of the canvas to allow for a better view of the background image. The train-railroad track scene had to be tactically placed in order to maximize its relation to the foreground and the cactus. Colors were matched using a hex identifier, html-color-codes.info,  and a name that color lookup on chir.ag/projects/name-that-color.  I was also at odds as to which lyrics to use from Glen Campbell's first major hit recording, as all of the lyrics are incredible. For anyone who has ever been there, this song is for you...
What does this statement mean? It's a big country out there. If you hitchhike to Florida and back you will get an opportunity to freeze in the San Antonio rain in December on the side of a freeway ramp. If you spend the next one under a starry sky sleeping on the side of Interstate-10 just east of Las Cruces, New Mexico on the way back out West, you'll know what I'm talking about. No song portrays the experience better than this one. I apologize if I am no good at promoting myself, as the saying goes,
"I'm not that kind of guy..."
COMMENTS//RESPONSES--

Hi James,
I really like the way this whole picture works so well together. The colors are very earthy tones and they give a very calming effect but also a sense of exploration or adventure. You mentioned in your documentation about traveling from one state to the other and I think it goes so well with the picture you chose. I also really like the font you used and the colors, it was super easy to read, and I think that by having the song lyrics one color and the name of the song and artist another was such a good idea! Overall I really like your work on this!
Thank you Jessica,
Travel is something I would recommend for everyone as it not only allows you to see the world but builds your self-confidence. You would be surprised how quickly you adapt to complicated situations you take for granted at home. We see where many people fail to adjust every holiday when their flights are cancelled and they spend the holiday sleeping in an airport and eating peanuts from a vending machine. Have a solid alternative in place, that's the message here. Thanks again.
Hi James!
Excellent work. Your craftsmanship is really evident in this project. Your portrait has a ton of detail that creates a spectacular and eye catching display. The overall result has a lot of character. Thanks for sharing.
Hello Mr. Gomez,
I am grateful for your positive comments. The photo of "Me Doing Me" was again a real #WIP due to the lack of photogenic nature I have at my disposal. Thus, the hat provides an opportunity to apologize for it since it's acceptable to be old and be a cowboy, many were born that way. There is however, something to be said for authenticity and that is much harder to get in life; requiring risk, experience, failure and above all, survival. Hopefully, all of that came out in the design. Thank you for taking a close look at the final product.



Wednesday, September 19, 2018

DAN365.1001--Essay: Ballet as an Ethnic Dance--U OF NEVADA, RENO, FALL 2018

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DAN365.1001
Prof E Allen
University of Nevada, Reno
Fall 2018 19 Sept 18
James Langelle

Essay: Ballet as Ethnic Dance

     Anthropology at best is an inexact science. It is based, as Joann Kealiinohomoku points out in her introductory argument, on deduction for one. The science is divided into many subordinate disciplines such as archaeology and linguistics, the former utilizing exact methods such as radiocarbon dating, the latter confined to phonetics and historical symbolism. Franz Boas introduced the far superior method of induction into fieldwork that paved the way for a new paradigm to be established in drawing conclusions from observation.(1).  Why is this important with relation to the study of dance, ballet in particular, by anthropologists? The question needs to be answered not directly, but in the context of Kealiinohomoku it is important to constrain the inquiry within the framework of her essay, An Anthropologist Looks at Ballet as a Form of Ethnic Dance.


     In her opening paragraphs, she cites a number of individuals she read in order to gain the necessary background in not just ballet, but dance in general. Here it appears she draws on resources that are genuinely dance history in nature, without any cross consultation with other anthropologists. Walter Sorell was a New York dance critic along with his many books on dance. (2)  Walter Terry, another dance critic, became associated with Ted Shawn’s  “Jacob’s Pillow”  project in Massachusetts. (3)  Claire Holt probably has the closest background of any cited in the text to that of a field anthropologist in her extensive work on Indonesian dance and culture; by some actually considered an accredited ethnographer. (4) Many of the other names cited by Kealiinohomoku indicate she had done her homework which may have led her to the rather cynical conclusion drawn of those who documented dance as ethnic.
     Next, after debunking deduction, Kealiinohomoku makes an exhaustive effort to interpret ethnology in relation to dance. She can’t find an answer in her readings since all of the historians cited overlook some basic assumptions about ethnology itself, that being its ethnocentric nature. For instance, she compares the Hopi rituals where members of the tribe, even though they don’t have a codified system in place for a particular ritual, nonetheless, everyone seems to be on the same page as to who’s who in the process. Here is where the refutation of the dance critics turned historians, as well as those who were directly involved as Agnes DeMille, come under scrutiny for their rather second-class citizen approach to interpreting ethnic dance in general. Kealiinohomoku rejects the categorization of “African dance” and “Indian dance” as superficial and groundless, preferring to place each particular tribal ritual into its own ethnic framework. Establishing the fact that the historians overlook basic field typology, she then moves on to examination of ballet as an ethnic dance itself.
     Ballet as an ethnic dance, according to her analysis, is based on some basic recognizable aspects of the art: the proscenium, the “three part performance,” curtain calls, applause and in particular the use of the French language. What Kealiinohomoku prefers to ignore is that none of that came about by accident. The difference between Western stylized culture (ballet)  and the so-called “pagan” or “savage” rituals lies directly in the codified system that evolved from the Renaissance and into the French ballets de cour. Pardon moi if there is no similar structure in African, Indian or Polynesian dance, but one has evolved out of India in Bharatanatyam.(5) Therefore, the argument is weak that dance historians prefer to overlook the various inherent components of non-Western ethnic performances such as the cast, the crew and who does the lighting and stage props, simply because they are from the West.
     Another mistaken assumption made by Kealiinohomoku is that ethnic ballet leaves out what isn’t appealing to the eye. Certainly an en pointe pirouette is something to behold and admire when performed by a skilled, young agile ballerina. Her name needs to be in credits, the choreographer congratulated. Kealiinohomoku rejects the use of “horses and swans” as purely Western ballet ethos with no tradition for swine and crocodylinae. In fact, costume design for dancers was not constrained in Fontainebleau in 1546 as mascarades began to appear;
     “A number of dancers, resembling some kind of pointed fishes, entered the room….two other mascarades ...griffins, eagles, vultures,” (6)
Also found at the performances were dancing frogs and cockerels (chickens). Note, of course, Kealiinohomoku’s argument that many of her sources had been revised and reprinted with but mere changes in some of the images in the sources, and many are dated. It can be taken into consideration as more historical data is uncovered  concerning the evolution of ballet through the Italian and French courts, more important discoveries will be made about the types of costumes and set designs, the characters and animals portrayed. That is the bottom line in anthropology anyway.The same applies to choreographic codification, as if the West purposely wrote down all of the movements on the floor to intimidate other cultures.
     As understood in Beauchamp-Feuillet Choregraphie, much of the movement depended not just on the performers, but on the stage itself when it came to striking the proper composition.  Etiquette was involved, the dancers might lose the focus of the audience if the set wasn’t properly designed, they could get literally lost onstage in the middle of the performance. (7) In other words, all that was lost in previous civilizations about the status of dance within the culture was directly related to the fact that it was not codified. The purpose of choreography is to preserve the movement, to channel it to a particular venue, to allow for variation and evolution; not to sell dance historians short because they can’t find similar components in other cultures.
     Finally, Kealiinohomoku fields a conclusion based on the “pan-human” trait of “we” and “they.”  Ironically, I encountered this very argument in a Core Humanities class recently when a student referred to “they” were dropping napalm on the people of Southeast Asia during the Vietnam War of the last century. Pardon moi again Mssr.,  I had to remind the student that he is an American, that “we” dropped napalm on the villages, not “they.”
     Taking it from the top, anthropology is best when used as an inductive process to discover why ballet is an ethnic Western dance. What cannot be emphasized strongly enough is the objective nature of the research in order to separate anthropology, the science, from ballet, the art. Both have codified systems in place and it may be necessary to reject those forms of non-codified expression in other cultures in order to better understand ballet as a distinctly Western ethnic art form.

Supporting Documents:
 Boas, http://anth701fall2016.web.unc.edu/2016/10/we-were-waiting-for-you-franz-boas/
Sorell, https://www.nytimes.com/1997/02/24/arts/walter-sorell-91-who-wrote-about-dance-and-culture.html
Terry, http://archives.nypl.org/dan/19832
Holt, https://globenewswire.com/news-release/2009/02/07/392262/159217/en/A-Radiant-Love-for-Indonesian-Culture-Art-and-Dance-Accompany-Claire-Holt-While-Sitting-At-the-Feet-of-Gurus.html
Bharatanatyam, https://www.culturalindia.net/indian-dance/classical/bharatnatyam.html
mascarades, Margaret McGowan, Dance in the Renaissance, Yale, 2008, pp. 141-42
Choregraphie, Wendy Hilton, Dance of Court and Theater, 1690-1725, Princeton, 1981, Ch 6, p. 87.

FWD MERTZ MESSTENT GI DETAIL--

Tuesday, September 18, 2018

CH203.1002--Essay: The Freedom To-From Illusion--A PERSONAL NARRATIVE

CH203.1002
Dr S Pasqualina
University of Nevada, Reno  18 Sept 2018
James Langelle

Essay: The Freedom To-From Illusion, a Personal Narrative

     Course evaluations, normally reserved for the end of a semester, would probably differ considerably from what could be said about class content after just a few weeks of lectures. Consider Core Humanities 203, the University of Nevada, Reno for the Fall 2018 semester. Content currently places emphasis on the writings of social theorist Isaiah Berlin. As a topic in the subsequent discussion section associated with lectures, following primary source reading assignments, it is not difficult to place Spaniards marching across Mexico,. Puritan preachers wives being abducted by savages, or Founding Fathers guilty of profiteering from the slave trade. But where does the to-from paradox apply personally, individually?
     Everyone has a personal experience of being included or excluded from a particular status, whether it be economic, social, ethnic or intellectual. My own personal experience involving a to-from duality can be found not in the constant reminder of slavery in America, but in another form of unwilling servitude, that being conscription. Popularly known as “the draft” in and about the middle of the last century, millions of young American males who had just graduated high school and turned 18 years of age were required to register with the Selective Service for possible duty in the armed services. It is useless to go into a brief history of the origins and evolution of mandatory service save to say it was listed in the Declaration of Independence as a grievance against the King of England. It was also common knowledge that it was a root cause of the War of 1812. We find throughout American history the necessity for the draft to further the cause of freedom at the expense of those who were forced to serve unwillingly.  Did the average citizen of age have the freedom to resist? In many ways, affirmative. Desertion was one and it served its purpose in the course of many wars, from colonial to Gettysburg.



     The most striking example of the disservice served by mandatory service came about in the Vietnam Era, the “Quagmire.” In 1965, I had received a notice of 1A, the highest classification making me eligible for induction. In 1965, the war in Southeast Asia was escalating at an alarming rate with US Marine Battalion Landing Teams wading ashore from Chu Lai to Red Beach in Da Nang. My generation had just graduated high school, myself from Reno High. Our band, the Uncalled 4, all five of us, played rock and roll at various venues in northern Nevada. My lead guitar player received his draft notice in the summer of ‘65,  my older brother received his about the same time. But he knew the Marine recruiter at the quonset hut on Evans Avenue where now stands a college dorm. The recruiter backdated his enlistment into the reserves so that he didn’t have to go into the Army. My lead guitar went and we were truly the uncalled for. I was next in line and to describe it as freedom to or from would be a genuine injustice for all of us who served, like it or not. I signed up for active duty with the same Marine recruiter in the quonset hut on Evans Avenue.
     During Tet of 1968, I landed in Da Nang with the 27th Marine Regiment, the last combat unit LBJ would give to General Westmoreland, we hadn’t any more troops to spare. “Back-in-the-world” as we called it,  students were burning their draft cards, the women were burning their bras; staging love-ins, die-ins, hippies were carrying fake coffins of dead soldiers up and down the streets of Haight-Ashbury. Those who didn’t beat the draft either went in, went to Canada, or went to Leavenworth. There was no freedom-to or freedom-from.  LBJ huddled with his advisors like Rusk, McNamara, LeMay, Taylor, Ridgway and Bradley. In Berkeley, friends of mine were tossing bricks through the windows of the math buildings, breathing tear gas and getting busted for protesting. Over in the ‘hood Stokley and Eldridge were discovering their own form of “freedom-from.”  Following Khe Sanh, Hue city and other memorable highlights of the year that historians liken to “defining,” the Quagmire gradually became so overwhelming for the President that he recused himself from running for another term. It paved the way for Richard M. Nixon, and in the fallout, expiration of mandatory military service. American youth would be free from the draft. The military would become all volunteer. The interim saw a lottery system and a congressional filibuster over just how to phase it out, but by the time the last chopper lifted off from the US embassy rooftop in Saigon, we would have the freedom to do what we wanted with our lives at the age of eighteen.
     In the early weeks of lectures of CH 203 we are constantly reminded of the injustice of slavery in America. Nobody talks about that other great injustice, unrelated to ethnic background although the rich could always find loopholes to avoid the draft. The poor from Appalachia, the blacks from Watts, the farm boys from Nebraska, bubbas from the South and rednecks from Arizona, these are America’s forgotten slaves. They just don’t fit well enough into the lecture, into some sophisticated social dialogue so that constant ethnic unrest can be achieved. Where are they today?

Primary Source Listing:

“Take the rag away from your face, now ain’t the time for your tears…”
Bob Dylan, The Lonesome Death of Hattie Carroll, 1964

Friday, September 14, 2018

JOURNALISM 108--"You Do You"--Comments and Responses-- U OF NEVADA, RENO,..FALL 2018

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(LZ Railbird)--Following docs recorded in cmd chronology--

Part B: Documentation
Colors in my You Do You Challenge
Spring Rain--#ADCBA7
Frosted Mint--#CAFFF5
Paco--#2E0B0E
Suva Gray--#827D80



What would you do differently in this image if you had more time and/or skills? The image is a screen capture from an MP4 created using a Canon HD Vixia HF R62. The colors were translated from the color picker located at https://html-color-codes.info/colors-from-image/. The Hex Codes were translated into the names of the colors at http://chir.ag/projects/name-that-color/. The overall setup could have been staged at KNPB-TV (where I work) using a studio green screen and the control room to edit but the home version required a bit more of an effort to achieve even rudimentary results. In maintaining the theme of simplicity, it was edited on a Microsoft paint program.

What does this statement mean to you? There was a time when journalism was not web based and the reporter had to fend for himself with whatever means was available to him. That is partly the reason I chose not to create the Challenge at the KNPB studio. State-of-the-art equipment; lighting, cameras, editing rooms and final cuts, all readily available, would have been a takeaway from the process of basic media technique, much of it lost to modern technology.
"Self-confidence allows me enough self-doubt to question new things."
Edited by  JCL on Sep 11 at 8:20pm

Yesterday Sep 13 at 10:16am
Hi James, I think that this photo is very creative. I like how you were able to have the light in the photo match the word color. I think the quote compliments the photo as well. Great job!

8:01pm Sep 14 at 8:01pm
Hello Janessa, Thank you for the comment. I readily admit that being photogenic is not one of my resume high points. Therefore it is necessary to adjust the lighting, take and retake, choreograph and rechoreograph and rehearse and re-rehearse for one simple image. Try to hide the flaws created by age, hair color and just plain not cut out to be a leading actor like Cary Grant. But it is true that self-confidence can create an environment to doubt something that is not authentic, a make-believe, a Wizard of Oz world evolving as a result of social media and its propensity to elevate even those with zero talent into the spotlight. Journalism is real and eventually it will separate the professionals from the amateurs.

Yesterday Sep 13 at 4:34pm
Hi James,   I liked your photo because the green light matched your text color very well. Plus, the image clearly matched the quote, and they were so nice together! 

8:10pm Sep 14 at 8:10pm
Thank you Ran, The green light was not my first choice but on trying other colors in the image, none of them worked. The font is called "Bohemian typewriter"  and the size (probably) "35." That Remington typewriter in the photo is a gem and I searched every thrift shop in Reno and found it in the last one, The Thrift Depot, on East 4th Street. It is in mint condition minus only a ribbon. The tag was $80 but got it at a discount of $56. The  girl's comment when I carried it over to the counter was,
     "Is that thing finally going away?"


Yesterday Sep 13 at 9pm
Hey James. I like what you said about journalism but I also don't consider it a detractor. If anything it is a sign of the change we have seen in our society. While the internet has fundamentally changed our news source and quality. It also allows for some great minds to emerge out from under the constrictive and damaging monopoly that the corporate monster used to hold.

7:48pm Sep 14 at 7:48pm

Hello Malachi, Thank you for the insight. Newton Minow, in 1961, labelled television a "vast wasteland."  That was about the time series such as "Rawhide," "I Love Lucy" and "Leave It to Beaver" were popular; westerns and wholesome family sitcoms. Minow has yet to comment on the current trend of reality television. He has yet also to comment on what we see on the internet with blogging, fake news and social media.
"When television is bad, nothing is worse," Minow said in May of 1961. Almost nothing is worse.

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Tuesday, September 11, 2018

JOURNALISM108.1001 --The "You Do You" Challenge--UNIVERSITY OF NEVADA, RENO--FALL 2018

ATTN TACNET.. VIA JC//POTSHACK   SUBJ   PERIMETER WATCH


(LZ410 Danang)--Following OP completed 2020pdt...

The "You do You"...

Part A: Design





Part B: Documentation

Colors in my You Do You Challenge 

Spring Rain--#ADCBA7
Frosted Mint--#CAFFF5
Paco--#2E0B0E
Suva Gray--#827D80


What would you do differently in this image if you had more time and/or skills? The image is a screen capture from an MP4 created using a Canon HD Vixia HF R62. The colors were translated from the color picker located at https://html-color-codes.info/colors-from-image/. The Hex Codes were translated into the names of the colors at http://chir.ag/projects/name-that-color/. The overall setup could have been staged at KNPB-TV (where I work) using a studio green screen and the control room to edit but the home version required a bit more of an effort to achieve even rudimentary results. In maintaining the theme of simplicity, it was edited on a Microsoft paint program.

What does this statement mean to you? There was a time when journalism was not web based and the reporter had to fend for himself with whatever means was available to him. That is partly the reason I chose not to create the Challenge at the KNPB studio. State-of-the-art equipment; lighting, cameras, editing rooms and final cuts, all readily available, would have been a takeaway from the process of basic media technique, much of it lost to modern technology.


"Self-confidence allows me enough self-doubt to question new things."


FWD MERTZ, GI CAN DETAIL....28TH CP SAN MATEO....3RD BN

Sunday, September 2, 2018

CH203---Essay: John Winthrop and the Pequot War--UNIVERSITY OF NEVADA, RENO FALL 2018

CORE HUMANITIES 203 SECTION 1002 //DR STEVEN P.  //SUBJ: CITY UPON THE HILL 


(The Roundabout)--Sailing from England fearing possible action taken against the Calvinist-Puritan group, John Winthrop organized nearly a dozen ships, crossed the Atlantic and arrived in Salem in the summer of 1630. But there wasn't enough room or water there so the band of Puritans eventually settled what is now present day Boston. During the Atlantic crossing, Winthrop gave a high-winded speech on board the Arabella about God, duty and the (soon to be) American way of life in which he alluded to building a city upon a hill that would be the envy of the world. But the city would eventually be built on land taken from the Native Americans who had lived there for at least two centuries.


     Pequot-Americans and other indigenous tribes had long been working the land, hunting and fishing and growing crops but all of that would change when, as Tocqueville called them, the "Europeans" arrived. There was a fundamental cultural outlook on life stemming from the strict Puritan code that disallowed other religious viewpoints, one of the principal reasons they left England in the first place. Confronted with the pagan rituals and loose moral codes of the Indians, it is no wonder that soon the Puritans would begin to question why the natives were allowed to keep all the fertile land much in need for plantations and exploitation. The colonists were not directly under any requirement from the homeland to make the New World profitable but were bound to a charter that would at least guarantee some sort of nafta with the King. Where the Indians stood in it became muddled in competition from other British settlers, numerous tribes all of whom could not get along, and the Dutch. The result was ultimately a war, the Pequot War of 1636-38 to be specific. The Pequots, by the way, was already faced with extermination due to that other great killer of Indian nations, smallpox.




     Speechmaker John Winthrop, if not a key player in the decision to go to war with the Pequots, certainly didn't climb back up on the pulpit of the Arabella with another lecture on treating everybody equal, with one of his "four things to be propounded," as;  " love one another with a pure heart fervently," and " bear one another's burdens."  That translated to love one another's land fervently and bear one another's crops and furs. Without going into the details of the outcome of the war, history reports the Pequots were massacred (Mystic River, 1637), women and children included. Those that survived were shipped off to the West Indies to become plantation slaves; except for a few that Winthrop adopted as household servants, in other words, slaves.


     Winthrop's city upon the hill was built on expropriated Indian land following the extermination of the tribe that owned it, with the help of turncoat Native-American allies, and became known as Boston, ground zero of the American Revolution.
   






Supporting Documents:
"A Model of Christian Charity," John Winthrop. https://www.coursehero.com/file/16242329/American-Exceptionalism1/
Sketch of Winthrop on Arabella at Salem--http://gerard-tondu.blogspot.com/2014/11/1630-puritans-found-boston.html
Mystic River Massacre-1637--https://worldhistoryproject.org/1637/5/26/the-mystic-massacre
Image:  http://gerard-tondu.blogspot.com/2015/03/1637-pequot-war.html
Indian-Pilgrim Image--https://www.accessgenealogy.com/native/the-narragansetts-and-pequot-indians.htm
Background Notes--https://en.wikipedia.org/wiki/John_Winthrop

CORE HUMANITIES 203 SECTIO1002// DR STEVEN P.  //SUBJ: CITY UPON THE HILL