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    <title>empty signifiers</title>
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    <updated>2007-07-21T05:04:55Z</updated>
    <subtitle>it is karma that rules the world, karma and not choreography.</subtitle>
    <generator uri="http://www.sixapart.com/movabletype/">Movable Type 3.2</generator>
 
<entry>
    <title>Retirement</title>
    <link rel="alternate" type="text/html" href="http://www.emptysignifiers.com/2007/07/retirement.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.emptysignifiers.com/mt/mt-atom.cgi/weblog/blog_id=1/entry_id=49" title="Retirement" />
    <id>tag:www.emptysignifiers.com,2007://1.49</id>
    
    <published>2007-07-21T05:03:52Z</published>
    <updated>2007-07-21T05:04:55Z</updated>
    
    <summary>Empty Signifiers is being retired. I&apos;m not going to post much of anything here anymore, but it won&apos;t be disappearing anytime soon. The only planned updates I can think of will be the conclusion to the apocalypticism entry, but I...</summary>
    <author>
        <name>the Brightside</name>
        
    </author>
            <category term="administrative" />
    
    <content type="html" xml:lang="en" xml:base="http://www.emptysignifiers.com/">
        <![CDATA[<p>Empty Signifiers is being retired. I'm not going to post much of anything here anymore, but it won't be disappearing anytime soon. The only planned updates I can think of will be the conclusion to the apocalypticism entry, but I can't guarantee a date on when that might occur.</p>]]>
        
    </content>
</entry>
<entry>
    <title>Evolution and technology.</title>
    <link rel="alternate" type="text/html" href="http://www.emptysignifiers.com/2006/10/evolution_and_technology.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.emptysignifiers.com/mt/mt-atom.cgi/weblog/blog_id=1/entry_id=48" title="Evolution and technology." />
    <id>tag:www.emptysignifiers.com,2006://1.48</id>
    
    <published>2006-10-04T17:10:30Z</published>
    <updated>2006-11-27T15:24:35Z</updated>
    
    <summary>Evolution is a nonteleological process. It has no &quot;end,&quot; no directive. It is simply a description of a process that occurs, and that process is that the organisms best adapted to a particular environment will enjoy the greatest chance of...</summary>
    <author>
        <name>the Brightside</name>
        
    </author>
            <category term="sociology" />
    
    <content type="html" xml:lang="en" xml:base="http://www.emptysignifiers.com/">
        <![CDATA[<p>Evolution is a nonteleological process. It has no "end," no directive. It is simply a description of a process that occurs, and that process is that the organisms best adapted to a particular environment will enjoy the greatest chance of survival in that same environment. It is easy to discursively address this process with falsely teleological terms, though, and discussions that attempt to explain evolution often make this mistake.</p>]]>
        <![CDATA[<p>In a way, the hydrodynamic metaphor is the easiest to understand. Take a pitcher full of water and poke a hole in the bottom. The water will flow out of that bottom hole. Now if you take another pitcher and poke <em>two</em> holes in it, one higher than the other, the water will flow more readily out of the lower hole because of the pressure exerted on the column of water. That is, the lower you go in the fluid, the heavier all the water on top of you becomes, and so the faster the water will run out of that hole. Similarly, if you dam up water in a riverbed, it backs up and forms a lake; that water has to go somewhere, and if you route it or block it or attempt to reengineer its pathway, the water will find a way to get where pressure tells it to go.</p>

<p>The same can very much be said of evolutionary pressures. There are stresses exerted on organisms by their environments, by their societies, by their own metabolisms. Humans experience these same stresses in all the same ways. We are driven to find food by hunger; early humans aggregated around their food supplies, which explains the nomadic hunter/gatherer type of society that formed the basis of civilization. In dry, difficult climes, the organisms that survive are those most capable of using water prudently: the cactus stores it in its tough flesh; reptiles do not leak water through their dry, scaly skins. Humans are hard-pressed to survive in those environments by themselves because they lack these adaptations.</p>

<p>Humans have recently, however, learned to circumvent the need for pure physiological adaptation (and to a lesser extent behavioral adaptation) through the development of technologies. The nomadic culture was defeated by the creation and widespread adoption of agriculture. Humans moved into hostile climates by building domiciles adapted to those hostile environments--igloos to retain heat in the far north, yurts in Mongolia, open huts in the trees in the jungles of the Amazon, sun-fired adobes in the American West. </p>

<p>Rather than adapt the organism to the environment, the available resources were adapted to force an environmental shift that allowed the organism to live comfortably. There is a psychological drive to alter the environment, to personalize it, to leave marks on our surroundings. Whether this is a remnant of the evolutionary impulse we've long since subverted, or whether it is an attempt (like I submit all of civilization is) to deny the fundamental impermanence of life isn't particularly clear.</p>]]>
    </content>
</entry>
<entry>
    <title>Apocalypticism as social control (III).</title>
    <link rel="alternate" type="text/html" href="http://www.emptysignifiers.com/2006/08/apocalypticism_as_social_contr_2.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.emptysignifiers.com/mt/mt-atom.cgi/weblog/blog_id=1/entry_id=44" title="Apocalypticism as social control (III)." />
    <id>tag:www.emptysignifiers.com,2006://1.44</id>
    
    <published>2006-08-24T01:15:22Z</published>
    <updated>2006-11-27T15:25:03Z</updated>
    
    <summary>(Part one of this series dealt with the nature of apocalypticism and its ability to create an insular culture. Part two concerned the investiture of otherness into the primary culture.) Adherents to the apocalyptic tradition have now, in pluralist societies,...</summary>
    <author>
        <name>the Brightside</name>
        
    </author>
            <category term="postmodernism" />
            <category term="sociology" />
            <category term="writing" />
    
    <content type="html" xml:lang="en" xml:base="http://www.emptysignifiers.com/">
        <![CDATA[<p><em>(<a href="http://www.emptysignifiers.com/2006/07/apocalypticism_as_social_contr.html">Part one</a> of this series dealt with the nature of apocalypticism and its ability to create an insular culture. <a href="http://www.emptysignifiers.com/2006/07/apocalypticism_as_social_contr_1.html">Part two</a> concerned the investiture of otherness into the primary culture.)</em></p>

<p>Adherents to the apocalyptic tradition have now, in pluralist societies, two powers not well known to secondary cultures: freedoms of religion and association. By removing the social structures so effective in oppressing the minority culture, the primary has disarmed one of the major reasons for continued loyalty to the apocalyptic secondary identity (and the infrastructure that surrounds it). If there are no codified methods of oppression, then the methods and metaphors of apocalypticism lose relevance as critical techniques.</p>]]>
        <![CDATA[<p>It is not entirely preposterous to believe that individuals used to whispering would aim these newfound voices first at speaking, and then screaming against those who had so desperately attempted to assimilate them. The allusions and dream-logic of apocalyptic social criticism can now be decoded into free and public debate, protest, or legislation; the secondary culture has been allowed not only to exist, but to self-identify.</p>

<p>But the maneuver to grant the right of self-identification serves more than one useful purpose to the primary culture. Aside from moralistic tones of right and wrong, the deliverance of autonomy within the regulations and preexisting codes of primary culture also defuses a potentially dangerous situation, and that situation is the impending revolt (or at least the simmering hatred) that underlies all attempts at re/oppression. It is also the best strategy for nurturing an identity that is a hybrid of primary and secondary culture. </p>

<p>Consider the circumstances of minority groups in New Zealand: identification as either European descent or Maori is no longer a point of contention. There are Maori institutes of higher education and Maori is one of the primary languages of the New Zealand government. But greater than either the Caucasian/Maori identity is the larger, less specific cultural identity of being a <em>New Zealander</em>. In allowing the secondary culture the (many, if not all) freedoms of the primary, the government begins assimilating them into a larger collective citizenry.</p>

<p>Why does apocalypticism then still appeal to radical or marginalized groups? For the same reasons that it has become accepted that apocalypticism was an appropriate response historically. Pluralist societies are not immediately tolerant of all secondary behaviors or identifications. There are still codes and mores that govern behavior, still taboos that clearly delineate what is and is not acceptable to the majority body politic. Some secondary groups organize themselves around a shared interest in a taboo, or have found themselves on the wrong end of the cultural pendulum as the primary culture or the larger, nationalist monoculture (as I'm calling the assimilative collective citizenry) redefines what is or is not acceptable.</p>

<p>But the individuals threatened the most by the disarming of the traditional means of social critique that apocalypticism represents are the prophets, the charismatic leaders, the empowered individuals of the secondary culture. Whereas in the oppressive old regime, the secondary culture might have required primary-sanctioned mediators or have instituted cultural overseers (Jewish representatives to Rome, conservative community leaders in the segregated South), the allowance of self-determination obviates the need for middlemen. And in any circumstance where power is redistributed, there will be resistance to that redistribution.</p>

<p>This is not to suggest that current apocalyptic trends are somehow different because they are contemporary. The infrastructure that supported the status quo was served well through the wholescale uptake of the apocalyptic critique because of its previously discussed revolutionary/anti-revolutionary social message. Bodies of people who are accepting apocalypticism are doing so for the same reasons that it was accepted earlier: in a concerted attempt to shroud the messages of a secondary culture from the prying eyes of a monolithic primary culture. What <em>is</em> different is the context--that of a pluralistic society as opposed to a larger imperialist behemoth.</p>

<p>Because the secondary is allowed to self-identify, while simultaneously being aware there is a larger identification--and a larger pool of identifications to choose from--the secondary culture and its leaders are made aware of their status as secondary. Existence in a pluralist or democratic society necessitates recognizing this fact, and it is a construction that encourages identification <em>beyond</em> the secondary. The freedom then to self-identify <strong>as secondary</strong> is also coupled with the inherently contradictory requirement to identify <strong>beyond the secondary</strong>.</p>

<p>Freedom comes at a de-privileging of the self. In being allowed to exist, one must also allow others to exist, and this is the conflict that drives the current evangelical Christian movement in America. Any ideology that positions itself as the true or right way will come into conflict with pluralism and autonomy. Further, the dedication and abjection that any fundamentalist religious movement requires is inherently threatened by that same autonomy that allows it to exist. In other words, people must be free to choose their religion, so that they might choose fundamentalism; but that same freedom to choose also allows potential converts <em>to choose something else</em>.</p>

<p>This is the thesis of this entire series of articles: <strong>Autonomy is at best a necessary evil, and at worst a direct antagonist, to the contemporary fundamentalist Christian movement in the United States.</strong></p>

<p>The next segment will discuss a repercussion of the positioning of autonomy as adversarial to fundamentalist Christianity: the legislation of morality.</p>]]>
    </content>
</entry>
<entry>
    <title>Administrative note.</title>
    <link rel="alternate" type="text/html" href="http://www.emptysignifiers.com/2006/08/administrative_note_2.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.emptysignifiers.com/mt/mt-atom.cgi/weblog/blog_id=1/entry_id=46" title="Administrative note." />
    <id>tag:www.emptysignifiers.com,2006://1.46</id>
    
    <published>2006-08-22T19:30:57Z</published>
    <updated>2006-11-27T15:25:31Z</updated>
    
    <summary>The long-delayed third segment of my articles on apocalypticism as social control looks like it will be delayed further--I am moving halfway across the country, and these next two weeks are full and hectic. I have completed half the apocalypticism...</summary>
    <author>
        <name>the Brightside</name>
        
    </author>
            <category term="administrative" />
    
    <content type="html" xml:lang="en" xml:base="http://www.emptysignifiers.com/">
        <![CDATA[<p>The long-delayed third segment of my articles on apocalypticism as social control looks like it will be delayed further--I am moving halfway across the country, and these next two weeks are full and hectic. I have completed half the apocalypticism article, and I have yet to arrive at my major area of interest, so don't worry, there will be more.</p>

<p>Brewing on the back-burner is the next series I will undertake, which I have tentatively titled "The Armory of Ardor: Sex and Semiotics," an examination of the symbols, codes, and communication of American sexuality over the past few decades. I am very much interested in the interplay of power in language, and the notion of the illicit and the taboo aggregates power and control around itself.</p>

<p>I will post as I can, and thanks for reading!</p>]]>
        
    </content>
</entry>
<entry>
    <title>Apocalypticism as social control (II).</title>
    <link rel="alternate" type="text/html" href="http://www.emptysignifiers.com/2006/07/apocalypticism_as_social_contr_1.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.emptysignifiers.com/mt/mt-atom.cgi/weblog/blog_id=1/entry_id=43" title="Apocalypticism as social control (II)." />
    <id>tag:www.emptysignifiers.com,2006://1.43</id>
    
    <published>2006-08-01T03:15:49Z</published>
    <updated>2006-11-27T15:25:52Z</updated>
    
    <summary>(Part one of this series dealt with the nature of apocalypticism and its ability to create an insular secondary culture.) A population can be insular without necessarily demonizing cultures peripheral (or, as insular derives from the Latin for island, external)...</summary>
    <author>
        <name>the Brightside</name>
        
    </author>
            <category term="postmodernism" />
            <category term="semiotics" />
            <category term="writing" />
    
    <content type="html" xml:lang="en" xml:base="http://www.emptysignifiers.com/">
        <![CDATA[<p><em>(<a title="Apocalypticism as social control (I)" href="http://www.emptysignifiers.com/2006/07/apocalypticism_as_social_contr.html">Part one</a> of this series dealt with the nature of apocalypticism and its ability to create an insular secondary culture.)</em></p>

<p>A population can be insular without necessarily demonizing cultures peripheral (or, as <em>insular</em> derives from the Latin for <em>island</em>, external) to itself. Insularity is, in the case of the oppressed secondary culture experiencing apocalypticism, cautious self-identification only with those who share cultural competencies. It is a survival mechanism in a time where political subversion or the appearance of subversion brings drastic consequences.</p>]]>
        <![CDATA[<p>It is a short psychological step, however, between what seems like the pleasure of joint identification--the thrill of rebelling against one's derided secondary status by creating an underground where, by virtue of being secondary, a culture has in fact become dominant--and the creation of a <em>gestalt</em> where the members of the oppressor primary culture are investments of the other.</p>

<p>The <em>other</em> as used here is a psychological term to describe the basic taxonomy of human experience. Following Jacques Lacan's discussion of the mirror stage of human development, the assumption of language by a speaking individual requires a recognition of the boundaries of the self and everything else. Prior to the infant's ability to grasp language, there is no division, there is no separation between itself and the environment. As the infant begins to understand that its reflection in the mirror is both self and not-self, it formulates a theory of the world that underpins the entirety of human consciousness. That theory is the basic expression of the dichotomy between Self and Other.</p>

<p>Self is what we know, what we recognize as identical or similar to ourselves. At its most basic level the Self is that ephemeral presence we name <em>I</em>. As socialized persons, however, we extend the category of Self to include those who possess the same cultural competencies--and thus are more likely to experience the world in a similar fashion--as ourselves. Thus our family, village, clan, ethnic group, or nationality becomes an extension of the Self.</p>

<p>The insularity first encouraged by apocalypticism can be seen as a celebration of the Self in an atmosphere of repression. The secondary culture is on the verge of being swallowed, of being resocialized, by the dominant oppressor. Because the oppressed is not allowed to express the characteristics that have until now defined him as Self, he seeks another outlet to do so. Thus the secondary culture becomes more strongly bonded by virtue of their threatened extinction or assimilation at the hands of the primary culture. This is the foundation of the drive for insularity, of identifying most strongly with those already recognized as Self.</p>

<p>It is only in societies where the minority position is protected that the resocialization process can be perceived as nonthreatening. If there is no danger to the secondary culture's identity--that is, if there is no process of conversion to the mores of the primary culture--then the insularity can lead to something of a peaceful coexistence. The emergence of ethnic neighborhoods during the great immigrations into the United States in the mid-1800s and early 1900s are somewhat representative of this phenomenon. There were conclaves of Irish, Polish, Catholic, Romanian, Chinese, Japanese, and various other ethnicities that functioned both in the primary British colonial-informed culture as well as maintaining an insular identity among similar immigrants: the neighborhood itself, having chosen to exist as a unified entity of one particular group, can be seen as an insular secondary culture.</p>

<p>It was never likely that this type of coexistence would ever occur prior to the development of legal protection and recognition of the secondary against the primary. (The Constitution's protection of minorities against the "tyranny of the majority" is what makes this possible in United States society.) The imperialism of Rome, Babylon, Assyria, and the other great empires of the early world was not a matter of coexistence, but geared more toward assimilation in the name of ensuring loyalty. While there are exceptions to every pronouncement, the requirements for secondary cultures to perform in the identifications of the primary, at the expense of their own identifications, is strong evidence for this conjecture. That is, while the Jewish population existed as both subjects of the Roman empire and as Jews, there were legal, social, and religious ordinances in place that prioritized loyalty to Rome over Jewishness. The worship performance at checkpoints in Meiji-era Japan to screen for covert Christians is another example of the dominance of the primary.</p>

<p>One of the strongest reasons for assimilating--for denying one's prior identity and resocializing as a member of the oppressive primary culture--is survival. It was the case with Roman and Babylonian empires that the punishment for indulging in dual identifications, for sustaining ties to the secondary culture, was torture, imprisonment, or death. It would seem this would automatically generate the conditions necessary to begin to conceive of the dominant culture as the Other.</p>

<p>This is not the case. Loyalty to the dominant culture will never last long if it is only legislated, and the enmity produced by tormenting people will eventually overpower the ruler's grasp. The emperors were shrewd leaders, and had an intuitive grasp of the mechanics of power. (They may not have dressed it in psychological terms, but they understood what they were doing.) The only way to convince people to embrace their servitude, to celebrate the nature of their oppression, is to convince them that their identification in the secondary culture is <em>wrong</em>.</p>

<p>It is a masterstroke. To convince someone that their servitude is not a thing to rebel against, you must force them to accept not only the dominance of the primary culture, but its justness, its righteousness. And the easiest way of doing so is to subvert their secondary identities as being the Other. In the American South, prior to the Civil Rights Era of the 1960s, this is clearly evident in the construction of white/black.</p>

<p>Specifically, in the texts and accounts we have of that time, there is a very active construction of blackness, as inferior, as mentally weak, as bestial. But there is never any real question of the construction of whiteness--whiteness is at most the background against which blackness becomes apparently wrong. The terms used to describe ethnicity and racial division bear this out. Slaves were <strong>colored</strong>, and their Caucasian oppressors were <strong>white</strong>. The implicit suggestion is that coloredness exists as an aberrance, whereas whiteness is the proper state of being. White folk were not <em>white folk</em>, they were <em>folk</em>.</p>

<p>So at last we have a reasonable answer to the question of the investment of Otherness. The primary culture in a strongly imperialistic society becomes a receptacle for the oppressed culture's notion of the Other as a kind of reflexive act of survival. Faced with the prospect that their cultural heritage--their preexisting socialization--will become unfamiliar, the secondary culture both closes ranks and begins to reaffirm its own self-identification by reversing the terms of the activity. The dominant people seek to define their slaves as Other; in response, the slaves ever more strongly identify with each other as Self, and begin to recast the dominators as Other.</p>

<p>Is apocalypticism a necessary condition for this maneuver? No. But is this maneuver in secondary cultures a byproduct of the emergence of apocalyptic traditions? Yes. The cultural competencies that allow for members of the secondary to identify each other also serve to strongly define those who do not possess those competencies as outsiders. And with apocalyptic literature's strong emphasis on the coming social change as the end result of revelation or catastrophe, it is easier still to allow oneself to refuse to identify with the members of the primary <em>at all</em>.</p>

<p>The next piece of this essay will begin to examine the specifics of American Christian evangelical apocalypticism and its ramifications for a democratic society.</p>]]>
    </content>
</entry>
<entry>
    <title>The myth of the American Dream.</title>
    <link rel="alternate" type="text/html" href="http://www.emptysignifiers.com/2006/07/the_myth_of_the_american_dream.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.emptysignifiers.com/mt/mt-atom.cgi/weblog/blog_id=1/entry_id=42" title="The myth of the American Dream." />
    <id>tag:www.emptysignifiers.com,2006://1.42</id>
    
    <published>2006-07-27T17:35:05Z</published>
    <updated>2006-07-27T17:58:44Z</updated>
    
    <summary>One of the more enduring myths we tell ourselves as participants in American culture is the quintessential deception of the &quot;American Dream&quot;: that no matter who you are, or how dispirited you have become, it is possible to achieve anything...</summary>
    <author>
        <name>the Brightside</name>
        
    </author>
            <category term="sociology" />
    
    <content type="html" xml:lang="en" xml:base="http://www.emptysignifiers.com/">
        <![CDATA[<p>One of the more enduring myths we tell ourselves as participants in American culture is the quintessential deception of the "American Dream": that no matter who you are, or how dispirited you have become, it is possible to achieve anything simply by working hard enough.</p>

<p>There are two problems with the myth of the American Dream. The first is the simplest: It isn't true.</p>]]>
        <![CDATA[<p>The second becomes evident in light of the first: It produces an attitude that is openly hostile to the less-fortunate. And I use "fortunate" deliberately. The strength of your determination is no guarantee to success or failure. Most will when reading that sentence consider it a truism, and yet as a cultural whole we still pander to the idea that hard work or dedication is the only fuel necessary for achievement. We hold these conflicting ideas in our heads almost without effort. And why?</p>

<p>For one, it is a strong boost to our self-confidence that we can imagine a world where everything we have achieved has been achieved solely through our work. That's insane, but it makes us feel better. Not only must you possess the discipline to try hard, but you must <em>also</em> possess the sheer lucky opportunity to even get that far. All your determination is for naught if you can never get through the company door--or if you aren't even aware of that company's existence.</p>

<p>It also helps to distance us from our social consciences. By crafting the illusion of the American Dream, our fates are matters of personal responsibility. We have no obligation to help others, because after all they're in the gutter because they're lazy. They don't work hard enough. They didn't try. It's their fault they're homeless, or poor, or about to get fired.</p>

<p>Opportunity defines our potential for success, that much is true; but the American Dream is a fallacy for other reasons. It requires an even playing field--hard work becomes the sole delineator of deserved success only if all receive the same opportunity and all work product is comparable and considered equally. Based as it is on differentiation and taxonomy, I sincerely doubt our culture, or humanity in general, will ever be able to escape our aggravating tendencies to invest those different from us with our fears of the Other (in psychological terms).</p>

<p>As current social trends have established, we are incapable of divorcing ourselves from judgment on irrelevant personal concerns. Budding sociopsychological research and functional MRI mapping of the brain indicates we make up our minds about situations and people within the first few milliseconds of encountering them.</p>

<p>There is a deeper problem <em>still</em>: in the name of rationality and objectivity, we have attempted to enshrine authority in certain metrics. Intelligence quotient is one of these metrics--it is supposedly a tool to indicate the ability to function intellectually in society. But it is a flawed test. Upper-middle-class white males will perform better on the IQ test not because there is something more capable about them as a class, but because the language of the test reflects assumptions favorable to upper-middle-class white males. Consider that <a href="http://www.nytimes.com/2006/07/23/magazine/23wwln_idealab.html?ei=5090&en=2c93740d624fe47f&ex=1311307200&partner=rssuserland&emc=rss&pagewanted=all">children in lower-class families perform poorer on IQ tests than siblings in upper-class families</a> (NY Times article, registration might be required; or visit <a href="http://www.bugmenot.com/">BugMeNot</a> for a generic username and password; link via <a href="http://www.kottke.org">Kottke</a>).</p>

<p>It's a comforting thought to recognize that yes, I have succeeded because I worked hard. But at the same time, I have to recognize--and be humbled by--the reality that I was damn lucky to get that far in the first place.</p>]]>
    </content>
</entry>
<entry>
    <title>Submitted without comment.</title>
    <link rel="alternate" type="text/html" href="http://www.emptysignifiers.com/2006/07/submitted_without_comment.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.emptysignifiers.com/mt/mt-atom.cgi/weblog/blog_id=1/entry_id=41" title="Submitted without comment." />
    <id>tag:www.emptysignifiers.com,2006://1.41</id>
    
    <published>2006-07-27T17:05:23Z</published>
    <updated>2006-07-27T17:34:33Z</updated>
    
    <summary>Wikipedia Celebrates 750 Years Of American Independence, from the Onion. A concise description of Wikipedia from the New Yorker. Link via Kottke....</summary>
    <author>
        <name>the Brightside</name>
        
    </author>
            <category term="links" />
    
    <content type="html" xml:lang="en" xml:base="http://www.emptysignifiers.com/">
        <![CDATA[<p><a title="Wikipedia Celebrates 750 Years Of American Independence href="http://www.theonion.com/content/node/50902">Wikipedia Celebrates 750 Years Of American Independence</a>, from <a href="http://www.theonion.com/">the Onion</a>.</p>

<p><a title="Fact" href="http://www.newyorker.com/fact/content/articles/060731fa_fact">A concise description of Wikipedia from <em>the New Yorker</em></a>. Link via <a href="http://www.kottke.org">Kottke.</a></p>]]>
        
    </content>
</entry>
<entry>
    <title>Apocalypticism as social control (I).</title>
    <link rel="alternate" type="text/html" href="http://www.emptysignifiers.com/2006/07/apocalypticism_as_social_contr.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.emptysignifiers.com/mt/mt-atom.cgi/weblog/blog_id=1/entry_id=40" title="Apocalypticism as social control (I)." />
    <id>tag:www.emptysignifiers.com,2006://1.40</id>
    
    <published>2006-07-26T04:33:37Z</published>
    <updated>2006-08-10T17:11:27Z</updated>
    
    <summary>There is a spot-on analysis of the political conservative movement over in Design Observer, in a guest column by Rick Perlstein. He suggests that at the heart of the conservative movement, its primary code and self-identification, is the narrative of...</summary>
    <author>
        <name>the Brightside</name>
        
    </author>
            <category term="postmodernism" />
            <category term="writing" />
    
    <content type="html" xml:lang="en" xml:base="http://www.emptysignifiers.com/">
        <![CDATA[<p>There is a spot-on analysis of the political conservative movement over in <a href="http://www.designobserver.com/">Design Observer</a>, in <a href="http://www.designobserver.com/archives/016421.html">a guest column by Rick Perlstein</a>. He suggests that at the heart of the conservative movement, its primary code and self-identification, is the narrative of persecution. The conservatives define themselves as being "hemmed in" on all sides, and this is the underlying cause for the unified front the conservatives present.</p>

<p>Perlstein has beaten me to the punch when it comes to a dissection of the primary narrative of conservatism, as I have been struggling to articulate what I have been observing on the national stage. The recent legislation against stem cells, the production of the "culture of death" terminology, the movement against equality for homosexuals all seem rooted in the solidarity of Christian conservatives and evangelicals. Perlstein does not neglect the intertwined trajectories of modern conservatives (perhaps they call themselves "neoconservatives" these days) and the fundamentalist Christian movement, but I do not believe he goes far enough in attributing the narrative of persecution to the nature of evangelicism.</p>

<p>The heart of the evangelical and conservative Christian cultures is apocalypticism. Despite disagreement and attempts at disambiguation, apocalypticism is primarily a critical technique employed by sociopolitical commentators that shrouds its analysis and subversion in the language of the <em>eschaton</em> (the "end times").</p>]]>
        <![CDATA[<p>The idea of the apocalyptic as a critical school is a descendent from Biblical form criticism (that analyzes the Bible and other theological texts as exactly that--texts). In a culture of suppression and persecution, it does the militant or the rebel no favors to be easily identified. The only way to spread and communicate the messages of solidarity, perseverance, and imminent revolution, the emotional and psychological tools necessary to maintain a single cultural identity in the face of an overwhelming aggressor, is through secrecy, symbol, and misdirection.</p>

<p>To use an example relevant to American neoconservatism, consider the apocalyptic literature canonized in the Christian Bible. The Book of Revelation was most likely written by John of Patmos, as a screed against the decadence and imperialism of contemporary (at the earliest, during the reign of either Emperor Nero, at 65 A.D., or the Emperor Domitian, at A.D. 95) Rome. Part of the Christian <em>gestalt</em> was inherited from the Jewish concept of the Hebrew peoples as God's Chosen, and thus the Christians who were at this point merely an offshoot of the Jewish and Hebraic traditions would have considered their martyrdom and status as social pariahs as tests of faith.</p>

<p>As a digression, the metal fish on the rear of many evangelicals' cars is not a reference to the "fishers of men" quotation. Rather, the Greek word <em>icthys</em> ("fish" in English) is acronymic of the Greek words for <em>Jesus the christ, son of God</em>. The drawing of the fish served as coded self-identification, both declaring and protecting the association of the artist. This symbolic, coded self-identification is fundamentally similar to the process of encoding found in apocalyptic literature. The dream-logic and intense imagery can be assimilated by those outside the context of the authors, but that mainstream audience lacks the competencies to interpret the symbols as calls for social reform and group solidarity.</p>

<p>I continue referring to apocalypticism as calling for "solidarity," and for good reason. The secondary culture, the "oppressed" culture, risks being assimilated by the dominant mostly through what we might call force of will. As the dominant culture, imperial Rome could enforce their own sets of mores by enacting law or by realigning social pressure. The Christian minority lacked the political capital to maintain their own identity through force, and had to rely on guile. It becomes necessary to reinforce the belief that one's cultural identity both has meaning and has value, that the sole purpose of self-identifying as secondary is not to incur pain and wrath.</p>

<p>The Revelation to John describes a world where a united Christianity ultimately defeats its animalistic, bestial aggressors and ushers in peace and deliverance to its chosen people. In this manner, Christian apocalyptic literature is both revolutionary and <em>anti-</em>revolutionary. "Our dominance is coming," Revelation says, "but our deliverance will indeed be delivered to us." It displaces the violent desire for revolution onto the religious father-figure, the Messiah, and so absolves the body politic of the duty of actually engaging a revolution. As the Jewish Revolt in Rome occurred in 66 A.D., the effect of attempting to wage revolutionary war on imperial Rome would not have been lost on John.</p>

<p>If you are unfamiliar with the Jewish Revolt of 66 A.D., it is best described as a cataclysmic disaster. David and Goliath works well as allegory, but rarely does David emerge victorious in a historical context.</p>

<p>So apocalyptic literature performs at least one function--to encourage the believing masses to maintain belief, for salvation is around the corner. In the next part of this series, we'll discuss the second function of apocalyptic literature: the investiture of the other in dominant culture.</p>]]>
    </content>
</entry>
<entry>
    <title>Today&apos;s random couplet.</title>
    <link rel="alternate" type="text/html" href="http://www.emptysignifiers.com/2006/07/todays_random_couplet.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.emptysignifiers.com/mt/mt-atom.cgi/weblog/blog_id=1/entry_id=39" title="Today's random couplet." />
    <id>tag:www.emptysignifiers.com,2006://1.39</id>
    
    <published>2006-07-25T22:45:15Z</published>
    <updated>2006-07-25T22:49:34Z</updated>
    
    <summary>Popped into my head during work today, and in light of anything more substantive, I&apos;ll post this. Feel free to finish it out in the comments with your own terminal couplet. &quot;When your better days are dead and gone You...</summary>
    <author>
        <name>the Brightside</name>
        
    </author>
            <category term="miscellaneous" />
    
    <content type="html" xml:lang="en" xml:base="http://www.emptysignifiers.com/">
        <![CDATA[<p>Popped into my head during work today, and in light of anything more substantive, I'll post this. Feel free to finish it out in the comments with your own terminal couplet.</p>

<p>"When your better days are dead and gone<br />
You learn to sing sadder songs."</p>]]>
        
    </content>
</entry>
<entry>
    <title>Pain and aggravation</title>
    <link rel="alternate" type="text/html" href="http://www.emptysignifiers.com/2006/07/pain_and_aggravation.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.emptysignifiers.com/mt/mt-atom.cgi/weblog/blog_id=1/entry_id=37" title="Pain and aggravation" />
    <id>tag:www.emptysignifiers.com,2006://1.37</id>
    
    <published>2006-07-18T20:45:56Z</published>
    <updated>2006-07-21T23:11:44Z</updated>
    
    <summary>I’ve been experiencing sharp pain in my wrists and fingers that recently crawled to my elbows in both arms. Equipped now with hard splints for my wrists, I finally have a modicum of relief. But as much typing as I...</summary>
    <author>
        <name>the Brightside</name>
        
    </author>
            <category term="administrative" />
    
    <content type="html" xml:lang="en" xml:base="http://www.emptysignifiers.com/">
        <![CDATA[<p>I’ve been experiencing sharp pain in my wrists and fingers that recently crawled to my elbows in both arms. Equipped now with hard splints for my wrists, I finally have a modicum of relief. But as much typing as I do at work—both at the 9 to 5 and for my own entrepreneurial ventures—it leaves me little room to write the kind of articles I enjoy writing for <strong>empty signifiers</strong>.</p>

<p>Expect a few new articles after I’ve recuperated.</p>]]>
        
    </content>
</entry>
<entry>
    <title>Review, Superman Returns.</title>
    <link rel="alternate" type="text/html" href="http://www.emptysignifiers.com/2006/07/review_superman_returns.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.emptysignifiers.com/mt/mt-atom.cgi/weblog/blog_id=1/entry_id=36" title="Review, &lt;em&gt;Superman Returns&lt;/em&gt;." />
    <id>tag:www.emptysignifiers.com,2006://1.36</id>
    
    <published>2006-07-13T22:55:41Z</published>
    <updated>2006-07-13T22:56:42Z</updated>
    
    <summary>Bryan Singer’s Superman Returns is a film that is reverent to its source almost to a fault. From its incorporation of Marlon Brando’s performance as Superman’s Kryptonian father to Lex Luthor’s entire evil scheme, we are not seeing a sequel...</summary>
    <author>
        <name>the Brightside</name>
        
    </author>
            <category term="cinema" />
    
    <content type="html" xml:lang="en" xml:base="http://www.emptysignifiers.com/">
        <![CDATA[<p>Bryan Singer’s <em>Superman Returns</em> is a film that is reverent to its source almost to a fault. From its incorporation of Marlon Brando’s performance as Superman’s Kryptonian father to Lex Luthor’s entire evil scheme, we are not seeing a sequel in the Superman franchise so much as <em>Superman 1.5</em>, the film Singer wished the first movie had been.</p>

<p>While revisions and remakes are in vogue, and some are ultimately the best expressions of their characters and storylines (see <em>Batman Begins</em>, for even though I love Tim Burton’s original, Nolan’s film is the Batman that was always meant to be), there is a slight feeling of the unnecessary hanging around Superman’s neck. Though I haven’t seen the original films, even I, an ignorant outsider to its cinematic history, left the theater thinking, “That was good… but it didn’t really seem <em>new.</em>”</p>

<p>Of course most of the thematic expressions are ultimately the same as in earlier Superman films and source material, but what we have with this movie that we did not get with earlier work is a polish to a mirror shine. Christopher Reeve’s wire-work cannot possibly compare to the lifelike CGI illusion we see flying, diving, and crashing to earth from space. No technology from the 1970s could have given us the puzzlingly creepy impression of a bullet striking Superman’s impenetrable eye.</p>

<p>What I’m not qualified to comment upon is whether Kate Bosworth’s Lois Lane is in any sense better or reminiscent of Margot Kidder’s performance in the original <em>Superman</em>, but with that qualifier, I’ll bet that Kidder <em>had</em> to have been better. Bosworth is lifeless and unconvincing. Though her child (yes, we’re supposed to believe Bosworth has an attachment to perpetually sticky child her fiancé drags along) doesn’t fall into the too-precious-by-half movie child cliché, he does come pretty close.</p>

<p>The Superman played by Brandon Routh is more <em>golem</em> than Moses; instead of a charismatic leader we have an indestructible servant, silent and solemn, sacrificing for a world that readily embraces his absence (Lane has even received a Pulitzer for the article “Why the World Doesn’t Need Superman”). Though we are battered by the notion that such seflessness is an act of leadership, this Superman rarely speaks, rarely gives any context to his action other than to stand as a beacon of simple opposition. He is an immovable object, a force of nature, not a figurehead or a messiah.</p>

<p>I’m somewhat surprised by the negative tone I have struck here in this review—I did enjoy the film, and it’s nice to see Superman get a modernized treatment. But with the quality of Singer’s prior work, it’s upsetting to see him settle for a mere updating, rather than a true revitalization.</p>]]>
        
    </content>
</entry>
<entry>
    <title>Naruto: The corrosive effects of child abuse.</title>
    <link rel="alternate" type="text/html" href="http://www.emptysignifiers.com/2006/07/naruto_an_exploration_of_the_a.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.emptysignifiers.com/mt/mt-atom.cgi/weblog/blog_id=1/entry_id=34" title="&lt;em&gt;Naruto&lt;/em&gt;: The corrosive effects of child abuse." />
    <id>tag:www.emptysignifiers.com,2006://1.34</id>
    
    <published>2006-07-06T17:31:29Z</published>
    <updated>2006-07-06T17:37:04Z</updated>
    
    <summary>Naruto is, like many anime, based on a popular Japanese manga. It currently airs on Cartoon Network, marketed to children, rather than its late-night big brother Adult Swim. Unlike any of its American counterparts—the utterly noxious cultural misconception Xiaolin Showdown...</summary>
    <author>
        <name>the Brightside</name>
        
    </author>
            <category term="anime" />
            <category term="postmodernism" />
            <category term="semiotics" />
    
    <content type="html" xml:lang="en" xml:base="http://www.emptysignifiers.com/">
        <![CDATA[<p><em>Naruto</em> is, like many anime, based on a popular Japanese <acronym title="The Japanese equivalent of a comic book or graphic novel"><em>manga</em></acronym>. It currently airs on Cartoon Network, marketed to children, rather than its late-night big brother Adult Swim. </p>

<p>Unlike any of its American counterparts—the utterly noxious cultural misconception <em>Xiaolin Showdown</em> chief among its thematic rivals—the subtext beneath <em>Naruto’s</em> glossily animated surface and big, expressive eyes is a story about the corrosive effects of child abuse.</p>

<p>This is a show about the abused, about how the traumas visited upon us in childhood build our worlds in bruises and blood.</p>]]>
        <![CDATA[<p>Our protagonist is Naruto, an orphan, a blonde boy with more energy than self-control. He is a social outcast, growing up alone and despised, and he desires more than anything the respect of his fellow villagers. His goal is to become <em>hokage</em>, the most exalted ninja of the clan, the leader of a culture of warriors.</p>

<p>There is Sasuke, the last surviving member of the Uchiha clan, a self-proclaimed "avenger." The talent in his bloodline is the <em>sharingan</em>, an ability that lets him learn and mimic any other ninja’s learned abilities merely by witnessing it once. He is often proclaimed the strongest, the fastest, the best of the new class of ninja by his teachers, and he is something of a romantic idol for the girls in the school.</p>

<p>This is the primary dichotomy of the series: the outcast and the favorite, the reject and the popular kid. The fire inside Sasuke is the desire to mete out vengeance on those who have wronged him, those who have deprived him of his parents. This is his goal, and the entirety of his experience at school is secondary to becoming strong enough to kill his enemies.</p>

<p>The mystery of Naruto’s orphaning explains the odd facial marks he wears: three equal length lines radiating out in 45-degree increments on his cheeks, what I first mistook to be tattoos of cat whiskers or scars. They are the only external evidence of Naruto’s birth: The Village Hidden in the Leaves was terrorized by the Nine-Tailed Fox, a demon made of fire that destroyed and consumed. The ninja lords that rule the village have sealed the demon inside Naruto, a foundling, and it seems as if this is the source of his boundless energy and the irrepressible mischief he is compelled to get himself into.</p>

<p>The idea of a school of warrior children, of lethal boys and girls training against each other in a struggle to out-kill and outlast, performs a striking allegorical function as we learn the background of each student. Almost without fail, these children have been attacked, tormented, beaten, traumatized, victimized, or made to sacrifice without compensation or consent. Naruto holds the demon inside of him, is watched by the ninja elders for any sign that the demon will break free—and at the first hint of recklessness they will kill him. Sasuke lives to assimilate the power and the means of destruction, driven to relive the circumstances of his raising. </p>

<p>Even the side characters we might easily forget bear the scars of early abuse. There is Shino, son of a clan of "beastmasters," who in a spectacularly gruesome fight, defeats his opponent with a flood of parasitic beetles that live inside him. The birthright of the clans is a blood pact with these beetles: the child is infected with a colony, and in return for letting these insects feast off his or her spiritual energy, he can command them in battle. But the host has no say in whether or not the infection takes place; and it is a crapshoot whether the host may even survive the initial infection.</p>

<p>Shino’s opponent, Zaku, lived on the streets as a beggar and a thief. In a flashback we see him ruthlessly beaten for stealing a loaf of bread, his arms battered and broken, and in a particularly cruel turn of the narrative, an enraged Sasuke twists Zaku’s arms behind his back and snaps them in half with a mad cackle. The acquisition of power is inadequate to prevent Zaku from being abused again, and the lesson is clear: only the strongest can prevent themselves from becoming victims.</p>

<p>All these children have traumatic pasts, and they wind up enrolled in a school that trains them to harness violence and use it in controlled bursts. They are institutionalized in such a way that their self-worth is tied to recreating the circumstances of their abuse, only—and this is key—with themselves as the abusers.</p>

<p>It is because of this utterly perverse incarnation of the <acronym title="Coming-of-age story"><em>bildungsroman</em></acronym> that I suggest the point of <em>Naruto</em> is not escapism or entertainment: it is the literalization of the cycle of abuse. These children are abused, and because the abuse shapes their formative years, because the abuse is in a very real sense their only socialization, they grow up knowing only violence and fighting. Childhood abuse has configured their mental landscapes so that their only outlook is on the world as a war, as a continuing struggle between potential abusers and potential victims.</p>

<p>A fighting school for beaten children is possibly the most apt and the most agonizing description of the potential fate of abused children that I can think of.</p>

<p>How odd we market this toward children ourselves...</p>]]>
    </content>
</entry>
<entry>
    <title>Review, Brand New at La Zona Rosa</title>
    <link rel="alternate" type="text/html" href="http://www.emptysignifiers.com/2006/07/review_brand_new_at_la_zona_ro.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.emptysignifiers.com/mt/mt-atom.cgi/weblog/blog_id=1/entry_id=33" title="Review, Brand New at La Zona Rosa" />
    <id>tag:www.emptysignifiers.com,2006://1.33</id>
    
    <published>2006-07-06T02:55:18Z</published>
    <updated>2006-07-06T05:03:44Z</updated>
    
    <summary>Monday, July 3rd, found me at La Zona Rosa, a club in downtown Austin, where in the hundred-degree heat I waited to listen to the clever, dark work of Brand New. A band from the Jersey shore, their most recent...</summary>
    <author>
        <name>the Brightside</name>
        
    </author>
            <category term="music" />
    
    <content type="html" xml:lang="en" xml:base="http://www.emptysignifiers.com/">
        <![CDATA[<p>Monday, July 3rd, found me at La Zona Rosa, a club in downtown Austin, where in the hundred-degree heat I waited to listen to the clever, dark work of Brand New. A band from the Jersey shore, their most recent album was <em>Deja Entendu</em>, which found their sharp lyrics married to Smiths-inflected guitar work and harder, harsher riffs, without relying on the new punk formula of their first record, <em>Your Favorite Weapon</em>.</p>

<p>The first track off <em>Deja</em> was the first song they played--more an atmospheric dabbling than a true song. "Tautou" drifts in on gentle guitar and a crash of cymbal, with Jesse Lacey's keen voice whispering "I'm sinking like a stone in the sea / I'm burning like a bridge for your body," and this couplet is repeated, first at a whisper, then a keening wail, as the lights pulsed. The crowd, mostly people younger than I, threatened to overwhelm the low vocals with their insistent yelling. As "Tautou" faded out into distortion, the band members waved, and a new guitar line broke out.</p>

<p>I've listened to <em>Deja</em> more than a few times, and know each of its songs--instrumentation and lyrics--like well-worn paths in the back yard, comfortable to tread, welcoming your presence. This guitar line was reminiscent of several but specifically none, and as such I can only presume it's off their upcoming record, which (if the t-shirts are accurate) called <em>Fight Off Your Demons</em>. It was darker, its verses sung tensely, building, only to erupt into screams and shouts. </p>

<p>La Zona Rosa is a small venue, walls around asphalt, and as such the acoustics left something to be desired, so I cannot say for certain if what I heard was really the literal content of the songs. But that chorus, that exploding guitar work, that crashing drums, the fluttering liquid bass, they were met with a throat-ripping wordless scream. A full-blooded furious scream that chilled the bone. Standing in a crowd of a thousand people watching the kaleidoscopic frenzy and the shattering lights onstage I felt the hairs on my arms stand on edge.</p>

<p>While <em>Deja</em> found more of its tracks played than their prior record, Brand New played their ode to teenage romance, "Soco Amaretto Lime," to the following cheers of the adolescent crowd. Having left high school and college behind me, the pathos and blatant youthful escapism were lost on me. The acoustic guitar graced Lacey's voice as the rest of the band left the stage.</p>

<p>But as with any concert, this was the false start before the encore, where the more violent, more insistent songs of their catalog came out to feed off the manic energy near midnight. It was here that the cognitive disconnect between the content of the songs and their audience was most readily apparent. "Me vs. Maradona vs. Elvis," despite its non-sequitur title, is a story of a sexual predator, enticing and devouring the women in his path. The strumming guitar and the hushed vocals conjure the impression of quiet shadows and cold bedrooms, furtive encounters in the dark, strangers in the night trying to find what the empty winter sun cannot show them.</p>

<blockquote>You laugh at every word, trying hard to be cute / I almost feel sorry for what I'm gonna do / And your hair smells of smoke / Who will cast the first stone? / You can sin or spend the night all alone.</blockquote>

<p>The story of "Maradona" is that of an aggressive, deceitful male, of the posturing of these one-night stands, the futility of a meaningful encounter. Far from the male victimized by the loss of his virginity in "Sic Transit Gloria (Glory Fades)," the narrator of this song has found the most satisfying way of fulfilling his needs: Taking it from these girls, cultivating the impression of sensitivity, leaving behind him an abattoir bedroom of sweaty bodies and crying eyes.</p>

<blockquote>You're using all your looks that you've thrown from the start / If you let me have my way, I swear I'll tear you apart / Cause it's all you can be / You're a drunk and you're scared / It's ladies night, all the girls drink for free</blockquote>

<p>The girls in the audience, none older than 20, they cheered and they shouted, they screamed out the lines with Lacey, celebrating the story of their own exploitation. I listened, and waited for the coda's crashing noise, astounded by the song's warm reception.</p>

<blockquote>I will lie awake, lie for fun / And fake the way I hold you / You'll fall for every empty word I say</blockquote>

<p>The bitterness and the cynical aggression permeated their next song, "Seventy Times 7," a punkier, musically less ingenious concoction than most of their other work. But where the riffs fail to invent, the lyrics and their poison more than make up. "So have another drink and drive yourself home / I hope there's ice on all the roads / You can think of me when you forget your seatbelt / And again when your  head goes through the windshield."</p>

<p>Appropriately their last song was "Play Crack the Sky," an extended metaphor of love as a ship sunk in the cold Atlantic, the narrator calling out "I am the one who haunts your dreams / Of mountains sunk below the sea / I spoke the words but never / Gave a thought to what they all could mean." Describing the end, eyes closed, Lacey lets the house lights die around him and with a wave and a thank-you left the stage.</p>

<p>Their live presence is strong, but there are still the hints of production work cleaning up their rougher edges on their albums. While a perfectly manicured appearance would no doubt seem stale and robotic, the intricate harmonies and the precise instrumentation is one of their strongest suits in their recorded work (excepting the freshman <em>Weapon</em>, which relies mostly on lyrical jabs to counteract its reliance on genre convention). But the vitality of the live scene is an unparalelled outlet, and theirs is a show not to be missed.</p>]]>
        
    </content>
</entry>
<entry>
    <title>New MovableType theme coming soon.</title>
    <link rel="alternate" type="text/html" href="http://www.emptysignifiers.com/2006/07/new_movabletype_theme_coming_s.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.emptysignifiers.com/mt/mt-atom.cgi/weblog/blog_id=1/entry_id=32" title="New MovableType theme coming soon." />
    <id>tag:www.emptysignifiers.com,2006://1.32</id>
    
    <published>2006-07-02T20:12:15Z</published>
    <updated>2006-07-02T20:17:52Z</updated>
    
    <summary>I have been working pretty diligently this week on creating my own template for Movable Type--this default (very blue) template is okay, but the typography and the colors are not what I would like. In the interest of carving out...</summary>
    <author>
        <name>the Brightside</name>
        
    </author>
            <category term="administrative" />
            <category term="design" />
    
    <content type="html" xml:lang="en" xml:base="http://www.emptysignifiers.com/">
        <![CDATA[<p>I have been working pretty diligently this week on creating my own template for Movable Type--this default (very blue) template is okay, but the typography and the colors are not what I would like. In the interest of carving out a space that's more my own, as well as helping ease readability, I've spent my time nose down in CSS and XHTML files. I'm also finding that Movable Type has a ridiculous amount of crap piled into those transitional XHTML files... Originally I'm sure the aim was to provide as much flexibility as possible by adding classes and ID tags to nearly every element, but the redundancy is astonishing.</p>

<p>So keep your eyes out for a new <strong>Empty Signifiers</strong> coming soon!</p>]]>
        
    </content>
</entry>
<entry>
    <title>The ethics of solitaire.</title>
    <link rel="alternate" type="text/html" href="http://www.emptysignifiers.com/2006/06/the_ethics_of_solitaire.html" />
    <link rel="service.edit" type="application/atom+xml" href="http://www.emptysignifiers.com/mt/mt-atom.cgi/weblog/blog_id=1/entry_id=31" title="The ethics of solitaire." />
    <id>tag:www.emptysignifiers.com,2006://1.31</id>
    
    <published>2006-06-25T01:17:30Z</published>
    <updated>2006-06-27T02:37:21Z</updated>
    
    <summary>The card game we consider &quot;solitaire&quot; is in fact a French invention, as the earliest texts still remaining are written by Frenchmen in French explaining the rules of the game of &quot;Patience.&quot; Patience games became popular in Britain, and from...</summary>
    <author>
        <name>the Brightside</name>
        
    </author>
            <category term="postmodernism" />
            <category term="semiotics" />
    
    <content type="html" xml:lang="en" xml:base="http://www.emptysignifiers.com/">
        <![CDATA[<p>The card game we consider "solitaire" is in fact a French invention, as the earliest texts still remaining are written by Frenchmen in French explaining the rules of the game of "Patience." Patience games became popular in Britain, and from there spread to the Americas with the expansion of the British empire.</p>

<p>What <em>is</em> solitaire, though? Why do we play it the way we do? What does the game communicate to us? Games meant for an individual are often seen as a way to pass the time, to occupy the mind, to busy the fingers. But games are agreements, contracts entered into between players, or between the player and the game itself. The game and the agreement are both encapsulated in the rules of the game. The rules are the reason you play the game, and the very thing you play, simultaneously. Whether you expect it or not, the act of playing the game is an act of agreement, and it is worth taking a minute to examine what you're agreeing to.</p>

<p>Start at the start. What is the card? Pairing a unit of measure with an amount of the same; it is almost a mnemonic device to teach Arabic numerals. The numeral 2, and two diamonds, two clubs, two hearts, two spades. But after the numeral ten, we encounter the "face" cards--the anthropomorphic display of royalty, the Jack, the Queen, the King, and ending paradoxically with the ace, alphabetical, anumerical. We have an unexpected island of humanity in a sea of abstraction, of quantized units. And they are not just <em>any</em> people, they are the ruling class.</p>

<p>The by-now-familiar game of Solitaire we all recognize begins with an arrangement of seven stacks of cards, with each stack consisting of the same number of cards as its position from the left (that is, the first stack from the left contains one card, the second stack two cards, etc.). The goal is to order the cards into suits, beginning with the ace and ascending numerically until reaching the king. But to achieve this goal we first order the cards into four stacks, starting with kings, and arranging them in a flip-flop color order--red, black, red, black (Stendhal would surely approve).</p>

<p>It is almost an exercise in mannered futility. Begin with one arbitrary hierarchy--that of space and number--and replace it with another arbitrary hierarchy, a mixture of color and number, while aiming at yet a third arbitrary hierarchy of homogeneity. What is it about? What are we agreeing to? What is its purpose, locked in the rules?</p>

<p>It does not seem to <em>mean</em> anything. It does not seem to have a purpose other than killing time. </p>

<p>But we begin with a hierarchy. A progression through space from left to right of an increasing quantity. And to progress through space is to progress through time; we begin with one card and apportion our stacks with more and more, until we have seven cards at the end of the line. We seed the stacks, arrange the layout, set the field ourselves. </p>

<p>It is easiest to remove the stack with the fewest cards, and to do so is to open the space that stack used to occupy. One can fill empty spaces only with kings, with patriarchs; and from the patriarchs we descend until we have an ordered kingdom descending to the lowest quantity. We alternate colors but we are not finished. We must arrange the cards into their own suits in reverse order, until the king lands on top, in his rightful place at the throne.</p>

<p>The game speaks to ethnicity and segregation, to the rightness of homogeneity and clearly-defined color boundaries. In today’s cards the backdrop is whiteness, but it would be wrong to speak of “white” cards; no, the colors are red and black, and the redness and the blackness is a point of difference, a dimension to be controlled for, a reason to arrange. In the initial stage of the game we place black cards on red cards and vice versa, but only in tightly-controlled descending numerical order. In the final stage—to “win” the game—we place the colors in the same pile, rearranging our initial diffusion, creating two stacks of each color. That is winning, that is the state in which we seek to move the universe of solitaire: every color has its place.</p>

<p>That white is not a color of the cards is telling. It is the backdrop, the canvas against which red and black are defined. Whiteness is the state of things until color comes to mar the canvas with contrast. There is no reason to consider white in the cards as a special entity, because white isn’t even a color here.</p>

<p>Some things to think of next time you play the cards and rearrange the colors into their proper order. The imperialist in Napoleon surely saw the draw in being able to arrange your own universe, to lay the colors down in quantities, to take the extant numbers and move them according to your whim. It speaks to the ethnocentricity of imperialist Europe in its entirety, in its previous business with the slave trade, in the future destruction of the Native American.</p>

<p>Perhaps there is no hint of overt conquest in the game, and this is simply “reading too much into it.”</p>

<p>Maybe it’s just not in the cards.</p>]]>
        
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