Teoría paranoica de la observación mutua: La interacción estratégica según Goffman
https://personal.unizar.es/garciala/publicaciones/teoriaparanoica1.pdf
lunes, 16 de septiembre de 2024
domingo, 15 de septiembre de 2024
Actuaciones
Actuaciones: Notas sobre el primer capítulo de 'The Presentation of Self in Everyday Life', de Erving Goffman: https://personal.unizar.es/garciala/publicaciones/Actuaciones.pdf
sábado, 14 de septiembre de 2024
jueves, 12 de septiembre de 2024
Contando cómo le paramos los pies
Contando cómo le paramos los pies: https://personal.unizar.es/garciala/publicaciones/Contandocomo.pdf
The Hammock
 |
Rodríguez, Laura. "Enrique de Diego presenta su nuevo libro Letizia satánica y adúltera. ¿Quién es Marina Abramovich?" Video interview. YouTube (Laura Rodríguez) 3 May 2024.* (Érika Ortiz, Jaime del Burgo, Felipe VI).
https://www.youtube.com/live/4CWOzKGm8Ag
2024
lunes, 9 de septiembre de 2024
Earth Game
Ebert, Christopher. "Earth Game and the Enheduanna Model: A Data Backed Method for Producing Prosocial Effects through Narrative." Academia (Christopher Ebert) 2024.*
https://www.academia.edu/122672428/
2024
El Efecto Mateo y la calidad retroactiva
"El Efecto Mateo y la calidad retroactiva."
https://personal.unizar.es/garciala/publicaciones/efectomateo.pdf
El mercado de la atención, al alza
El mercado de la atención, al alza: https://www.academia.edu/63990310/
The Nether
Retropost, 2014:
That's one of the big questions playwright Jennifer Haley ''05 MFA poses in The Nether,
a half sci-fi, half police-procedural drama that debuted at Kirk
Douglas Theatre in Los Angeles in 2013. It won the 2012 Susan Smith
Blackburn Prize, and the Los Angeles Times described it as a
"daring new drama" that "should have everyone squirming in their
seats." Following on the heels of Haley's play Neighbourhood 3: Requisition of Doom, in which a violent video game becomes real-life for a quiet suburban town, The Nether continues Haley's exploration of the real-world damage that results when we unleash our darkest desires in cyberspace.
Haley says the inspiration for The Nether came from playwright
Paula Vogel, who was on the Brown faculty while Haley was earning and
MFA: write what your hate, Vogel advised. Haley hated TV police
procedurals such as Law & Order and CSI. She also hated pederasts. "I thought, what's the worst thing someone can do? It was all an academic exercise."
In The Nether, a female detective faces off against the
businessman who runs the virtual pedophilic playground called The
Hideaway. During the interrogation at the police Station, the two
debate the risks this new form of online entertainment poses. "You're
telling them their desires are not only acceptable, but commendable!"
exclaims the detective. "And in an entertainment that can scarcely be
differentiated from real life!"
"As long as they don't do it in real life, who cares?" Sims, the
businessman, fires back. "I've read the studies. No one has been able
to draw a conclusive correlation between virtual behavior and
behavior-in-world." Haley says she's agnostic on whether the web is
changing us for the worse or the better. "I can's speak to whether one
becomes a fundamentally different person or whether one's personality
changes," she says. By The Nether's end great damage has been done, but the reasons and the blame are ambiguous.
After its summer run in London, The Nether will be produced next February in New York City at the off-Broadway MCC Theater. Haley wrote for the Netflix TV series Hemlock Grove
last winter and hopes to continue. Meanwhile, she's at work on another
play based on online identities—a woman spots her ex-lover in a video
game and goes in search of him.
—oOo—
David Hare, LICKING HITLER
David Hare, Licking Hitler. Cast: Bill Paterson, Kate Nelligan, Hugh Fraser, Brenda Fricker, Clive Revill. Director: David Hare. BBC, 1977. Online at YouTube (CIDrama14) 26 March 2014.*
2014 DISCONTINUED 2024
YouTube (Seitreu Hagen) 20 March 2023.*
2024
RELOADED:
—oOo—
domingo, 8 de septiembre de 2024
Performing the Self
Retropost, 2014:
Citan el libro de Narratology en esta tesis de máster:
Ilené Jacobs, Performing the Self: Autobiography, Narrative, Image and Text in Self-Representations. MA diss. U of Stellenbosch, 2007.
http://scholar.sun.ac.za/bitstream/handle/10019.1/1552/jacobs_performing_2007.pdf?sequence=3
Tendré que ir tomando nota de todas las citas a las que se llega a través de Google Scholar. Lo haremos por partes. Un trabajillo de esos de cultivar el jardín de uno que decía Voltaire.
Psychological Anthropology
I almost made it to this modest top ten in Psychological Anthropology:
http://papers.ssrn.com/sol3/topten/topTenResults.cfm?groupingId=2352022&netorjrnl=jrnl
—sadly enough, there's two papers in no. 10 and I'm pushed out.
But hear, hear:
Dear Jose Angel Garcia Landa:
Your paper, "LA EVOLUCIÓN DEL DIVIDUO SOCIAL Y DE LOS ESPACIOS PÚBLICOS (THE EVOLUTION OF THE SOCIAL DIVIDUAL AND OF PUBLIC SPACES)", was recently listed on SSRN's Top Ten download list for: AARN: Psychological Anthropology (Cross-Cultural) (Topic).
As of 07 September 2014, your paper has been downloaded 22 times. You may view the abstract and download statistics at: http://ssrn.com/abstract=
Top Ten Lists are updated on a daily basis. Click the following link(s) to view the Top Ten list for:
AARN: Psychological Anthropology (Cross-Cultural) (Topic) Top Ten.
Click the following link(s) to view all the papers in:
AARN: Psychological Anthropology (Cross-Cultural) (Topic) All Papers.
To view SSRN's Top Ten lists for any network, subnetwork, eJournal or topic on the Browse list (reachable through the following link: http://www.ssrn.com/Browse), click the "i" button to the right of the name, and then select the "Top Downloaded" link in the popup window.
http://papers.ssrn.com/sol3/topten/topTenResults.cfm?groupingId=2352022&netorjrnl=jrnl
—sadly enough, there's two papers in no. 10 and I'm pushed out.
But hear, hear:
|
|
Dear Jose Angel Garcia Landa:
Your paper, "LA EVOLUCIÓN DEL DIVIDUO SOCIAL Y DE LOS ESPACIOS PÚBLICOS (THE EVOLUTION OF THE SOCIAL DIVIDUAL AND OF PUBLIC SPACES)", was recently listed on SSRN's Top Ten download list for: AARN: Psychological Anthropology (Cross-Cultural) (Topic).
As of 07 September 2014, your paper has been downloaded 22 times. You may view the abstract and download statistics at: http://ssrn.com/abstract=
Top Ten Lists are updated on a daily basis. Click the following link(s) to view the Top Ten list for:
AARN: Psychological Anthropology (Cross-Cultural) (Topic) Top Ten.
Click the following link(s) to view all the papers in:
AARN: Psychological Anthropology (Cross-Cultural) (Topic) All Papers.
To view SSRN's Top Ten lists for any network, subnetwork, eJournal or topic on the Browse list (reachable through the following link: http://www.ssrn.com/Browse), click the "i" button to the right of the name, and then select the "Top Downloaded" link in the popup window.
Synecdoche, New York
Viendo esta excelente película de Charlie Kaufman—Synecdoche, New York.
Humor
negro, no apto para depresivos—o quién sabe. Me pregunto si le hizo
algún bien a Philip Seymour Hoffman. Como con el caso de Robin
Williams, ahora se ven algunos de sus personajes como conteniendo mucha
más parte del actor de lo que parecía, o sirviéndoles de expresión a
una parte de su personalidad que no superaban ni trascendían mediante
la actuación.
Aquí transcribo la excelente reseña que le hizo Roger Ebert, que vio en la película una auténtica experiencia (desengañada) de la vida—de la tuya, hypocrite lecteur.
I think you have to see Charlie Kaufman's "Synecdoche, New York" twice. I watched it the first time and knew it was a great film and that I had not mastered it. The second time because I needed to. The third time because I will want to. It will open to confused audiences and live indefinitely. A lot of people these days don't even go to a movie once. There are alternatives. It doesn't have to be the movies, but we must somehow dream. If we don't "go to the movies" in any form, our minds wither and sicken.
This is a film with the richness of great fiction. Like Suttree, the Cormac McCarthy novel I'm always mentioning, it's not that you have to return to understand it. It's that you have to return to realize how fine it really is. The surface may daunt you. The depths enfold you. The whole reveals itself, and then you may return to it like a talisman.
Wow, is that ever not a "money review." Why will people hurry along to what they expect to be trash, when they're afraid of a film they think may be good? The subject of "Synecdoche, New York" is nothing less than human life and how it works. Using a neurotic theater director from upstate New York, it encompasses every life and how it copes and fails. Think about it a little and, my god, it's about you. Whoever you are.
Here is how life is supposed to work. We come out of ourselves and unfold into the world. We try to realize our desires. We fold back into ourselves, and then we die. "Synecdoche, New York" follows a life that ages from about 40 to 80 on that scale. Caden Cotard (Philip Seymour Hoffman) is a theater director, with all of the hangups and self-pity, all the grandiosity and sniffles, all the arrogance and fear, typical of his job. In other words, he could be me. He could be you. The job, the name, the race, the gender, the environment, all change. The human remains pretty much the same.
Here is how it happens. We find something we want to do, if we are lucky, or something we need to do, if we are like most people. We use it as a way to obtain food, shelter, clothing, mates, comfort, a first folio of Shakespeare, model airplanes, American Girl dolls, a handful of rice, sex, solitude, a trip to Venice, Nikes, drinking water, plastic surgery, child care, dogs, medicine, education, cars, spiritual solace -- whatever we think we need. To do this, we enact the role we call "me," trying to brand ourselves as a person who can and should obtain these things.
In the process, we place the people in our lives into compartments and define how they should behave to our advantage. Because we cannot force them to follow our desires, we deal with projections of them created in our minds. But they will be contrary and have wills of their own. Eventually new projections of us are dealing with new projections of them. Sometimes versions of ourselves disagree. We succumb to temptation -- but, oh, father, what else was I gonna do? I feel like hell. I repent. I'll do it again.
Hold that trajectory in mind and let it interact with age, discouragement, greater wisdom and more uncertainty. You will understand what "Synecdoche, New York" is trying to say about the life of Caden Cotard and the lives in his lives. Charlie Kaufman is one of the few truly important writers to make screenplays his medium. David Mamet is another. That is not the same as a great writer (Faulkner, Pinter, Cocteau) who writes screenplays. Kaufman is writing in the upper reaches with Bergman. Now for the first time he directs.
It is obvious that he has only one subject, the mind, and only one plot, how the mind negotiates with reality, fantasy, hallucination, desire and dreams. "Being John Malkovich." "Eternal Sunshine of the Spotless Mind." "Adaptation." "Human Nature." "Confessions of a Dangerous Mind." What else are they about? He is working in plain view. In one film, people go inside the head of John Malkovich. In another, a writer has a twin who does what he cannot do. In another, a game show host is, or thinks he is, an international spy. In "Human Nature," a man whose childhood was shaped by domineering parents trains white mice to sit down at a tiny table and always employ the right silverware. Is behavior learned or enforced?
"Synecdoche, New York" is not a film about the theater, although it looks like one. A theater director is an ideal character for representing the role Kaufman thinks we all play. The magnificent sets, which stack independent rooms on top of one another, are the compartments we assign to our life's enterprises. The actors are the people in roles we cast from our point of view. Some of them play doubles assigned to do what there's not world enough and time for. They have a way of acting independently, in violation of instructions. They try to control their own projections. Meanwhile, the source of all this activity grows older and tired, sick and despairing. Is this real or a dream? The world is but a stage, and we are mere actors upon it. It's all a play. The play is real.
This has not been a conventional review. There is no need to name the characters, name the actors, assign adjectives to their acting. Look at who is in this cast. You know what I think of them. This film must not have seemed strange to them. It's what they do all day, especially waiting around for the director to make up his mind.
What does the title mean? It means it's the title. Get over it.
_______
Una importante adición, por tanto, al arte sobre la vida entendida como representación virtual y teatro vívido. Más sobre la vida como teatro aquí:
García Landa, José Ángel. "Be Copy Now." In García Landa, Vanity Fea 24 June 2006.
http://garciala.blogia.com/2006/062401-be-copy-now.php
_____. "Goffman: La realidad como expectativa autocumplida y el teatro de la interioridad." In Zaguán 29 May 2009.*
http://zaguan.unizar.es/record/3358
2009
_____. "Actuaciones." In García Landa, Vanity Fea 21 October 2009.*
http://vanityfea.blogspot.com/2009/10/actuaciones.html
2009
_____. "Somos teatreros: El sujeto, la interacción dialéctica y la estrategia de la representación según Goffman." iPaper at Academia.edu 30 May 2012.*
http://unizar.academia.edu/Jos%C3%A9AngelGarc%C3%ADaLanda/Papers/1670984/
2012
_____. "Hegel: La comedia y la vida como metadrama." In García Landa, Vanity Fea 15 July 2012.*
http://vanityfea.blogspot.com.es/2012/07/hegel-la-comedia-y-la-vida-como.html
2012
_____. "El mundo todo es máscaras." In García Landa, Vanity Fea 30 August 2012.* (Larra).
http://vanityfea.blogspot.com.es/2012/08/el-mundo-todo-es-mascaras.html
2012
_____. "El mundo como teatro." In García Landa, Vanity Fea 17 Sept. 2012.*
http://vanityfea.blogspot.com.es/2012/09/el-mundo-como-teatro.html
2012
_____. "El mundo, puro teatro." In García Landa, Vanity Fea 27 Sept. 2012.*
http://vanityfea.blogspot.com.es/2012/09/el-mundo-puro-teatro.html
2012
_____. "Role at Variance with Self." In García Landa, Vanity Fea 12 Oct. 2012.* (from McAlindon's English Renaissance Tragedy).
http://vanityfea.blogspot.com.es/2012/10/role-at-variance-with-self.html
2012
_____. "Retrospección del teatro y de la vida." In García Landa, Vanity Fea 11 May 2013.* (Styan).
http://vanityfea.blogspot.com.es/2013/05/retroprospeccion-del-teatro-y-de-la-vida.html
2013
_____. "El teatro vivido de El Curioso Impertinente." In García Landa, Vanity Fea 18 May 2013.*
http://vanityfea.blogspot.com.es/2013/05/el-teatro-vivido-de-el-curioso.html
2013
_____. "Más sobre la vida como teatro." In García Landa, Vanity Fea 26 Aug. 2013.*
http://vanityfea.blogspot.com.es/2013/08/mas-sobre-la-vida-como-teatro.html
2013
_____. "La evolución del dividuo social y de los espacios públicos." Lecture at the HERAF seminar on "Individuo y espacio público", Universidad de Zaragoza, 10 Jan. 2014. Social Science Research Network 12 Jan. 2014.*
http://ssrn.com/abstract=2377963
2014
_____. "El Gran Juego." In García Landa, Vanity Fea 2 Feb. 2014.* (Arsuaga and Martín-Loeches).
http://vanityfea.blogspot.com.es/2014/02/el-gran-juego.html
2014
_____. "Epifanía del Mundo como Teatro." In García Landa, Vanity Fea 4 Feb. 2014.* (Christopher Rush, Will).
http://vanityfea.blogspot.com.es/2014/02/epifania-del-mundo-como-teatro.html
2014
_____. "Veblen y la teatralidad." In García Landa, Vanity Fea 20 March 2014.*
http://vanityfea.blogspot.com.es/2014/03/veblen-y-la-teatralidad.html
2014
_____. "Aprendiendo a esconderse." In García Landa, Vanity Fea 24 July 2014.* (Berger & Luckmann; roles).
http://vanityfea.blogspot.com.es/2014/07/aprendiendo-esconderse-learning-to-hide.html
2014
_____. "Interaction as Reality-Maintenance." In García Landa, Vanity Fea 28 July 2014.* (Berger & Luckmann).
http://vanityfea.blogspot.com.es/2014/07/interaction-as-reality-maintenance.html
2014
—oOo—
sábado, 7 de septiembre de 2024
Equipos y sujetos (al equipo): El actor social forma parte de una compañía dramática."
https://personal.unizar.es/garciala/publicaciones/equiposysujetos.pdf
Four Daughters
Four Daughters (Arabic: بنات ألفة, romanized: Banāt Olfa, French: Les Filles d'Olfa, lit. 'Olfa's Daughters') is a 2023 Arabic-language documentary[3] film directed by Kaouther Ben Hania. After two daughters of a Tunisian mother disappeared, the filmmaker invites professional actresses to compensate for the loss. The film is an international co-production between France, Tunisia, Germany and Saudi Arabia.
—oOo—
Más sobre simulación, detección y autoengaño
Más sobre simulación, detección y autoengaño: https://www.academia.edu/35025761/
jueves, 5 de septiembre de 2024
El interlocutor interiorizado
El interlocutor interiorizado: https://personal.unizar.es/garciala/publicaciones/interlocutorinter.pdf
Shakespeare's Montaigne
—a lecture by Stephen Greenblatt, with performances at the Brooklyn Academy of Music.
martes, 3 de septiembre de 2024
The Origin of the Human Mind in Infant Dramatism
The Origin of the Human Mind in Infant Dramatism: https://www.academia.edu/35827813/
lunes, 2 de septiembre de 2024
domingo, 1 de septiembre de 2024
The Fundamental Things Apply
"The Fundamental Things Apply'—La comedia romántica: Renovarse y vivir."
Suscribirse a:
Entradas (Atom)
-
Dan Robinson gives the sixth of eight lectures on Reid's critique of David Hume at Oxford. In the third of his "Essays on T...
-
Retropost, 2014: That's one of the big questions playwright Jennifer Haley ''05 MFA poses in The Nether, a half sci-fi, ha...
-
Retropost, 2014: La desilusión es parte crucial de la educación—sobre todo en el sentido de autoeducación, de educación a pesar de la edu...
