Imagined communities: Reflections on the origin and spread of nationalism

Experience and Educationis the best concise statement on education ever published by John Dewey, the man acknowledged to be the pre-eminent educational theorist of the twentieth century. Written more than two decades after Democracy and Education(Dewey's most comprehensive statement of his position in educational philosophy), this book demonstrates how Dewey reformulated his ideas as a result of his intervening experience with the progressive schools and in the light of the criticisms his theories had received. Analysing both "traditional" and "progressive" education, Dr. Dewey here insists that neither the old nor the new education is adequate and that each is miseducative because neither of them applies the principles of a carefully developed philosophy of experience. Many pages of this volume illustrate Dr. Dewey's ideas for a philosophy of experience and its relation to education. He particularly urges that all teachers and educators looking for a new movement in education should think in terms of the deeped and larger issues of education rather than in terms of some divisive "ism" about education, even such an "ism" as "progressivism." His philosophy, here expressed in its most essential, most readable form, predicates an American educational system that respects all sources of experience, on that offers a true learning situation that is both historical and social, both orderly and dynamic.

经验与教育 = Experience and education

How to Do Things With Words

The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society

By Pierre Bourdieu (London: Routledge, 2010), xxx + 607 pp. £15.99 paper. A combination of social theory, statistical data, illustrations, and interviews, Distinction: A Social Critique of the Judg...

Distinction: A Social Critique of the Judgement of Taste

ii Acknowledgments iii Table of Contents v Chapter 1 – American Folk Music as Tactical Media 1 1.1	 Introduction 1 1.2	 A Long Duree of Tactical Media 2 1.3	 Research Objectives and Questions 6 1.4	 Literature Review 11 1.5	 Theoretical Orientation: Pragmatism 34 1.6	 Methodology: Media Archeology and Imaginary Media Research 38 1.7	 Chapter Outlines 44 Chapter 2 – Folk Media: Alan Lomax’s Deep Digitality 47 2.1	 Introduction 47 2.2	 Phonographic Lomax 51 2.3	 Computational Lomax 59 2.4	 Cybernetic Folk 65 2.5	 Deep Digitality 70 2.6	 Conclusion 73 Chapter 3 – Pete Seeger’s Tactical Media Theory 74 3.1	 Introduction 74 3.2	 Pragmatic Medium Specificity 76 3.3	 Performance and Television 82 3.4	 Folksinging as Dissemination 87 3.5	 Guerilla Media Warfare 94

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If I Had a Hammer: An Archeology of Tactical Media From the Hootenanny to the People's Microphone

This article explores how The Band's complicated relationship to divergent notions of authenticity has grounded the means by which Robbie Robertson is marked off from the rest of the group across the history of their star discourse. The author also considers the recent resurgence of The Last Waltz by examining the ways in which the film's performances, and texts about them, engage with what Andrew Wernick has called “promotional culture,” ultimately suggesting that it is the profound tension between the group's and Robertson's conflicting styles of authenticity that is a source of The Band's persisting popularity.

“Who Don't Care If The Money's No Good?”: Authenticity and The Band

This essay explores the radio program Randy’s Vinyl Tap, which is hosted by Randy Bachman and airs on CBC Radio 1 (2005-present). I argue that the show’s complex reception can be explained, in part...

Taking Care of Authenticity on the CBC’s Randy’s Vinyl Tap

This article reconsiders American folklorist and broadcaster Alan Lomax as a medium theorist. I examine how Lomax’s engagement first with the phonograph and then with digital computers came to inflect his understanding of “the folk” (or at least how this tendency is inscribed across his writings and projects). I also use Lomax’s engagement with media to critique aspects of German media theorist Friedrich Kittler’s work. I argue that Lomax’s “deep digitality” is not an abstract, sovereign world of code rendering particular media finally obsolete (as it is for Kittler); Lomax simply sought to plug Gilles Deleuze & Felix Guattari’s “nomad”—which he just calls “the folk”—into the machine. Lomax thus points toward a fascinatingly utopian assemblage of always-embodied voices and digital systems. Cet article essaie de reevaluer le folkloriste et diffuseur Americain Alan Loma comme theoricien en mediologie. J’examine comment l’engagement de Lomax a influence sa comprehension du “folk” : d’abord avec le phonographe et puis avec les instruments digitaux (ou au moins comment cette tendance est inscrite sur ses ecrits et projets). J’utilise aussi son engagement avec les medias de facon a critiquer des aspects de l’oeuvre du theoricien en mediologie Allemand Friedrich Kittler. Je plaide que la digitalite profonde de Lomax n’est pas un monde code, abstrait et souverain (telle qu’elle est pour Kittler); Lomax cherchait simplement a brancher le “nomade” de Gilles Deleuze et Felix Guattari—ce qu’il appelle le “folk”—dans la machine. Ainsi, Lomax fait appel a un fascinant assemblage utopique de voix et systemes digitaux qui sont perpetuellement incarnes.

Folk Media: Alan Lomax's Deep Digitality

Media scholars Nick Dyer-Witheford and Greg de Peuter view digital play as a complex, conflicted site on the terrain of global capital; although seemingly “one-dimensional” diversions in many instances, video games also constitute a space where the virtual can be actualized and where radical subjectivities can be collaboratively improvised (2005; forthcoming). Drawing from Dyer-Witheford’s and de Peuter’s work, my paper explores a gaming trend that has not yet been critically examined – the incorporation by recent titles of musical performance. The wildly popular Guitar Hero and the lesser known but critically acclaimed Rez serve as examples of digital-musical play; my paper argues that both games offer virtual “lines of flight,” however humble. 	
	But in order to critically analyze these ludic-aesthetic works, I first attempt to synthesize and develop what I call “machinic virtuosity.” According to autonomist Marxist theorists Paolo Virno, Michael Hardt and Antonio Negri, the virtuoso (or “immaterial labourer”) is the paradigmatic worker of late capitalism (or “Empire”). As these thinkers argue, the qualitative shift to Empire’s mode of production is the moment when, theoretically, work becomes political. And yet, capital’s axiomatic of exchange remains as a sort of postmodern disciplinarian of virtuosity. A machinic virtuoso, then, to borrow a term from Gilles Deleuze and Felix Guattari, might be one that aesthetically subverts or “de-territorializes” Empire’s capture of human creativity. 
	With “machinic virtuosity” in mind I proceed to explicate Guitar Hero and Rez, two video games that explicitly engage with immaterial labour and performance under Empire. Guattari has pondered the possible sources of subversive art in late capitalism: “[Virtual machines] are not easily found at the usual marketplace for subjectivity and maybe even less at that for art; yet they haunt everything concerned with creation, the desire for becoming-other” (Chaosmosis 92). Can Guattari’s “virtual machines” be found at Wal-Mart? As I will show, they can.

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Henry Adam Svec

Papers

If I Had a Hammer: An Archeology of Tactical Media From the Hootenanny to the People's Microphone

“Who Don't Care If The Money's No Good?”: Authenticity and The Band

Taking Care of Authenticity on the CBC’s Randy’s Vinyl Tap

Folk Media: Alan Lomax's Deep Digitality

Becoming Machinic Virtuosos: Guitar Hero, Rez, and Multitudinous Aesthetics