Friday, 25 April 2014

Digital Anthropology is Here


Digital Anthropology is Here

Digital Anthropology is an important new field of study deserving increased recognition. The Information Age phenomenon of information-overload is relentlessly advancing in a new way, one that our ancestors could never have adequately prepared us for. “Knowledge is power” is now “Knowledge is endless”, and endless consumption is exhausting. Things like endlessly cross-referenced wikiwalks, endless music and podcast options, endless online interest groups, etc. - options, if virtually limitless in quantity - are then necessarily limited by our own finite human capacity to partake in them. The myriad ways in which we do this, and in which we share in these experiences, are the subject of this new field of study known as Digital Anthropology.
Digital and Cyborg Anthropology are two aspects in this emerging crossing of fields that study how social media, electronic communications, telepresence, interactive robotics, big data, and emerging technologies influence and are influenced-by anthropology both in our relationships, and in our own identities, respectively. These emerging fields essentially study the living of modern man as-identified-with all of his ever-expanding means of presence and communication. Digital Anthropology defines and supports this exciting evolution in human culture, and merits increasing attention as a field of research just as our capacity to relate to others also increases.
The Ethnography of Digital Anthropologists –that is to say, the field-work of documenting and understanding cultural phenomenon- tends to have similar methods as to traditional forms of anthropology, though with new tools for the same purposes:
Unlike a traditional anthropologist who might go to another country, city, or place to do their research, the digital anthropologist must travel through the Internet to locate the field site. And just as a traditional ethnographer has their set of tools (tape recorder, field notebook, videocamera, kinship diagrams) the digital ethnographer must have a set of tools for understanding and recording the digital space. Screencapture software, website archiving tools, servers, blogs and content management systems are common tools of digital ethnographers. They are the equivalent of the audio recorder and journal. (Case)
Personally, I have ever been surrounded-with and have identified with in-groups and out-groups, in every aspect of my life: I am a son of immigrants though not an immigrant, an English speaker whose first and family tongue was Spanish, a faithful believer enrapt of the simplicity of the natural world, an introvert always appreciative of social graces and the sharing of beauty. In politics, in race, in language, in religion, in interpersonal dynamics, I have always been either caught-between or embracing both sides of most dualities. Now, seeing how advancing high technology in-my-lifetime ever-more encroaches from the disparaged realm of rocket-scientist pocket-protector nerd-dom, to the now polished and refined image of always-connected cyber-geekery by way of Apples and Androids, I am fascinated by this phenomenon unprecedented in human history of exponential connectivity. As the rowers keep on rowing, and they show no sign of slowing, and as the zeitgeist of power moves ever into the field of connectivity (if not always with a humane awareness), I throw-in my lot to studying and advancing our adapting to these ever-expanding means within our limited natural and cultural abilities.
I first considered my interest in psychology rather narrow, as the individual is always present in many groups, and groups are often divided against one-another, drawing stark contrasts between themselves that we as individuals so often identify with. Being an online student, I have seen every day how social media such as text messaging, facebook and twitter are becoming not just more a part of daily life, but also a factor affecting daily life via news reports on trends, and how big-data is being ever more used for everything from marketing to census-data and health-care. We have always identified with our effects, from philosophy, to law, to religion and politics. Now that our effects and abilities are extending well-beyond our physical presence, the bridging fields of electronic communications and anthropology are necessarily interacting more and faster to keep up, with an information age phenomenon that none of our ancestors could have properly equipped us to deal with. Our modern society is suffering growing pains to adapt.
Even within the world of Anthropology and social science, how best to formalize and expand the methods and character of Digital Anthropology has been a topic of discussion. While the Digital Anthropology Interest Group (“DANG, for fun”) has become an established interest group that is both within and without the American Anthropology Association (Thompson, Some DANG history: Who are we and what are we doing here?), even if they should participate within the structure of the Association at all has been something of a concern, since there are plenty of means available for those with this interest to communicate their research and findings. Working within established structure, if not solely within, is one way DANG has decided to best be of service to their goal of Open Access of research, and though the interest group is exclusive to AAA members -as-an-interest-group-, they also share and blog online to meet this goal, as well as to animate the AAA, as Matt Thompson of DANG puts it “kicking and screaming into the twenty-first century”:
We want a different publication regime that includes Open Access principles and more recognition paid towards legitimating online activities for hiring, promotion, and tenure; we want everyone from the rank-and-file to Big Name Professors to join us in using net platforms for teaching, research, and communication.
These changes are not going to happen on their own. The AAA is not going to see the light unless WE flip the switch. Instead of giving up on our admittedly stodgy professional association, I am suggesting that we get inside the damn thing and take it over.
If the primary focus of this interest group lies outside the AAA then we shouldn’t organize under the AAA in the first place. If everyone is envisioning a collective that joins forces with international, cross-disciplinary organizations embracing all the net has to offer in linking everything and everyone in a new and truly global anthropology… fine. But then we’re talking about a whole other ball of wax. In that case the AAA would be a burden and we should just bypass it entirely.
If people want a AAA interest group then we’re going to have to be much more circumspect in what we actually do. As a AAA interest group our energies must be directed towards (1) fomenting change within the AAA, to bring it kicking and screaming into the twenty-first century, and (2) serving the AAA membership, so that those of us who are wired can share our expertise and that others might be educated on why the issues that matter to us are important.
Is this parochial? Indubitably. Is this going to change the world? No, its only going to change our small part of it. But you gotta start somewhere, right? (Thompson)
In similar fashion to the ongoing work of Digital Anthropology and related emergent fields in understanding and learning about how we use and identify with technology more and more, Digital Archaeologists are reviving one of the earliest open-access online social platforms from twenty years ago, in 1994 Amsterdam, the Digital City:
This rudimentary social-media platform, launched in Amsterdam twenty years ago and known as the Digital City (or by its Dutch acronym DDS), was one of the earliest virtual public domains and a precursor to the modern Internet. But the software that kept it buzzing with activity until 2000 is now virtually lost. The challenge of retrieving and preserving this and other web artifacts has given rise to a new profession: web archaeologist. 
“If we don't do anything, then an important piece of digital cultural heritage will be lost,” says Tjarda de Haan, the first official web archeologist at the Amsterdam Museum. She is leading a far-ranging effort to rebuild the Digital City for virtual tours by future generations.
When DDS opened in 1994, it was one of the first social media platforms in the world, the first Dutch virtual community and the world’s first public-domain virtual city. Conceived as a virtual space for independent groups, from artists to culture organizations, the hub grew from 10,000 members in 1994 to 400,000 by 2000. (Teffer)
Digital Anthropology is here. It has arrived as celebrated and intrusive to all that has come before it as the Information Age, Refrigerated Transport, Television, and the Railroad. Be it in the study and reviving of its earliest forms for posterity, or its vanguard in ushering in a new age of global understanding, Digital Anthropology is here to stay. It is best we take notice.


Works Cited

Case, Amber. "Digital Ethnography." Cyborg Anthropology. 25 04 2014. Web Article. <http://cyborganthropology.com/Digital_Ethnography>.
Teffer, Peter. "In Amsterdam, web archaeologists excavate a digital city." The Christian Science Monitor 29 03 2014. 25 04 2014. <http://www.csmonitor.com/World/Europe/2014/0329/In-Amsterdam-web-archaeologists-excavate-a-digital-city>.
Thompson, Matt. "Digital Anthropology Group: Are we sure we want this thing inside the AAA?" 29 02 2012. Savage Minds: Notes and Queries in Anthropology. anthropology community weblog. 25 04 2014. <http://savageminds.org/2012/02/29/digital-anthropology-group-are-we-sure-we-want-this-thing-inside-the-aaa/>.
—. Some DANG history: Who are we and what are we doing here? 17 08 2012. 25 04 2014. <https://01anthropology.wordpress.com/2012/08/17/some-dang-history-who-are-we-and-what-are-we-doing-here/>.



Sunday, 16 February 2014

Explication of James Wright's "A Blessing"

Xavier Veliz
Professor
ENC 1102
February 16, 2014

Explain in 500 to 750 words the meaning & effect of James Wright’s A Blessing, including how he provokes in his readers via diction, tone, imagery, and figurative-language.
Quote for support (line(s) #), (#(-#)).
Use MLA formatting (1 L “” (#), 2 L / (#s), 3+ L: block indent. (#-#)


A Blessing Into Now

James Wright’s poem “A Blessing” is a poem of transcendence, of crossing from a position fettered by time, place, and circumstance, into the eternal Now of presence and awareness, where the all-restraining and consuming Kronos-time is consumed in Kairos, in the actualized and inhabited opportunity to appreciate, and participate-in, life.  Wright presents through sensual, yet conversational language and images a scene where a man finds himself unexpectedly aware, present and participant in a moment greater than his circumstance requires, where as-if isolated in a dream-like state, he realizes his connectedness with nature, and being. Yet he is not so isolated, as we are not so isolated in our sharing in this account... It transcends typical boundaries, in quite an uncommon and spectacular fashion.

With the words: “Just off the highway to Rochester, Minnesota, / Twilight bounds softly forth on the grass.” (lines 1-2), immediately there is present a place and time in-between and beyond places, and in-between and beyond times. Rochester is an area without mountains and hills. The setting is off a road, and in a pasture near the woods, not wholly civil nor wholly wild. Even the time of day is hazy. "Twilight bounds softly forth" affords us likely dusk or gloaming, near the golden hour between day and night. This is a time and place in between, where details haze as colors and shadows with gradients of light. This, with:
          And the eyes of those two Indian ponies
          Darken with kindness.
          They have come gladly out of the willows
          To welcome my friend and me. (3-6)
sets us wholly within Kairos-time. This is a setting to live in, to inhabit, for becoming, and becoming AWARE.

What becomes here, in this unique place the speaker so  effusively depicts? Everything, right now. Life awakens. The speaker speaks to us, so we can assume to be the friend that joins him, stepping with him "over the barbed wire into the pasture / Where they have been grazing all day, alone" (7-8). The way these lines are phrased, the speaker presents here one of several possible double-entendres. While the ponies may seem alone, it can only be the speaker and us, his (reader) friend, which can possibly be alone in this intimate experience, together crossing "over the barbed wire into the pasture", "Just off the highway to Rochester" (7, 1). This encounter breaks the fourth wall of poetry, between speaker and audience, and celebrates this special awareness with us in an explicit, personal, and intimate way. "They ripple tensely, they can hardly contain their happiness

That we have come" (8-10) seems to continue this double-entendre, having departed describing only the ponies in line seven A with the word "alone", seeming even to affirm this change in the reader and his friend, as even the Indian ponies may represent: "They ripple tensely, they can hardly contain their happiness" (8, 9).

This possible interpretation of the first-half of "A Blessing" would seem far-fetched and implausible, if not for firstly:
how consistently the imagery shifts from the ponies, to their observers, and then to the inclusive experience of the speaker;
and secondly, to measures included within the very structure of "A Blessing" that reveal this reading as intentional. Such measures include the literary symmetry of the setting, where the Indian ponies (which shadow we observers breaking away from our own routines) are "COME gladly out of the willows" (5), as well the purposeful separation of line ten, which can be read alone as referring to lines eight and nine: "That we have come." (10). This is not unintended or accidental. This is carefully-crafted, self-aware, and self-referential. The reader is to participate together-with the speaker: "That we have come. (10)" is to read as "that, we now become".

"They bow shyly as wet swans. They love each other.
There is no loneliness like theirs." (11, 12) describes the tenderness shared in this moment, both in the ponies that would be observed, as toward and with their observers come from the highway, and into the ongoing metaphor of the aloneness between the speaker and his reader, united in the experience of this poem, while divided by circumstance, both tenderly and appreciatively aware of the other, even if alone. here is no lonliness like that between author/speaker and reader, even more so than two Indian ponies in a secluded pasture.






Work Cited
Wright, James. “A Blessing.” Poets.org. Academy of American Poets, 2014. Web. 17 Feb. 2014.