Tag: storytelling

Zen Stories

Once a division of the Japanese army was engaged in a sham battle, and some of the officers found it necessary to make their headquarters in Gasan’s temple.

Gasan told his cook: “Let the officers have only the same simple fare we eat.”

This made the army men angry, as they were used to very deferential treatment. One came to Gasan and said: “Who do you think we are? We are soldiers, sacrificing our lives for our country. Why don’t you treat us accordingly?”

Gasan answered sternly: “Who do you think we are? We are soldiers of humanity, aiming to save all sentient beings.”

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Zen Stories ☯

Little miracles
While Bankei was preaching quietly to his followers, his talk was interrupted by a Shinsu priest who believed in miracles, and thought salvation came from repeating holy words. Bankei was unable to go on with his talk, and asked the priest what he wanted to say. ‘The founder of my religion,” boasted the priest, “stood on one shore of a river with a writing brush in his hand. His disciple stood on the other shore holding a sheet of paper. And the founder wrote the holy name of Amida onto the paper across the river through air! Can you do anything so miraculous?”
“No,” said Bankei, “I can do only little miracles. Like: when I am hungry, I eat. When I am thirsty, I drink. When I am insulted, I forgive.”

Instant Sharing

Without doubts, the ability of instant sharing is a bloom in media history. It allows people to express themselves and their environment in a very organic and spontaneous way. The synchronisation of the real-time activity and its digital representation make the process more attractive and artistic. Rather than designing the order, the opportunity to go spontaneously give people to be more expressive.
There are types of instant photo sharing as I experienced. I can call one type as an impulsive sharing that is used for expressing surprised, shocked. This way is based on proof presenting.

The other type is showing the experience, environment or a subject that is attractive, interesting or engaging to your story.

Another type is showing yourself in the experience.

Nam June Paik (1932–2006)

Our life is half natural and half technological. Half-and-half is good. You cannot deny that high-tech is progress. We need it for jobs. Yet if you make only high-tech, you make war. So we must have a strong human element to keep modesty and natural life.  Nam June Paik

Korean-born American artist Paik influence the art of video and television intensely.

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TV Garden (1974)

 

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V-yramid (1982)
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Computerised One Hundred Flowers, 1998

 

 

Electronic super highway –

“Skin has become inadequate in interfacing with reality. Technology has become the body’s new membrane of existence.” —Nam June Paik

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Games

“Game world is a simplified subdomain of the real world.” Steve Swink

Game industry developed as the result of the military contract spin off some of their products around the 1980s. Flight simulators design their technology for the arcade games, including game council PC games muds was growing with a pace.

For example, Silicon Valley made the major products the Nintendo export for the play station and the extremely successful Super Mario series came out of that.

Culture and Digital

Digital applications convert the very habitual traditions of the cultures. For example, coffee fortune telling. This traditional behaviour of the Turkish people goes online on these days. People with smart phones are taking the pictures of their cups and send them to the virtual character who analyses the coffee cups and send them the analysis report simultaneously.

Imagination

Imagination is like going down the rabbit hole. By the origin of the word it is picturing, imaging oneself. It’s a great ability of the human that can connect the different points and creates new ideas, images, concepts of external objects not present to the senses.

Contemporary area, which is governed by scientific taste, creates its narrative genre called science fiction.

From Jules Verne to Star Trek, science fiction has proven to be remarkably prescient in developing new technologies and shaping attitudes towards that technology. As a reminder, a promise of the science fiction requires material, physical, rationalisation rather than a supernatural or arbitrary. Material rather than the supernatural is its key attribution. However, it is hard to differentiate the well-developed technology from the supernatural. So let’s face the music. Isaac Asimov wrote about the connected library that everyone can access, in a short story called “From The ‘London Times’ in 1904, Mark Twain predicted the internet in 1898 when telephones were still a very novel form of communication. John Brunner also wrote about the many issues related to computer technology. One of the contemporary ways of communication has already written by Jelus Verne in 1889. Talking holograms do not only appear in the Star Trek, they become to come around. There was a voice-controlled computer in 2001: A Space Odyssey. Voice control has become mainstream software like Siri on the iPhone 4S. Besides, the first aeroplane television was seen in 2001: A Space Odyssey. Now you can see it anytime you take a flight. Cyberspace was the word from the Necromancer that was written by W. Gibson. Kurtzwell had already written that intelligence machine will win the chess match in 1990 before IBM’s Deep Blue won in 1997.


The Spielberg film A.I. was based on a Brian Aldiss story, “Super-Toys Last All Summer Long”.


The question of imaginary media is: What can be imagined, and under what historical, social and political conditions? What are the conditions for the media imaginaries of the modern mind and contemporary culture, and on the other hand, how do imaginaries condition the way we see actual technologies?(Parikka, 2012, What is Media Archeology pg 47)

Artificial Satellites

They are the nexus of many tasks. Weather prediction, navigation, broadcasting.

The first satellite in space was Sputnik 1 which means as a word fellow traveller was send in 1950 by Russians. After 7 years, the first biological spacecraft that called Sputnik 2 was sent by carrying a terrier female dog. By the following year, 1958, Sputnik 3 has taken its place in space as a first launched orbit. In the same year, 1958, America also started to launch the orbits. The satellite Score has become the world’s first communication satellite.

In 1960, several satellites were sent to space by Nasa. One of them was successfully acting as a passive reflector of microwave signals, communication signals were bounced off it from one point on Earth to another point. This was the satellite making the radio communication possible. Another one called Courier 1B could record messages from an earth station and rebroadcast them.

In 1962, while British and Canada sent their satellites into space, Telstar 1 has become the world’s first active communication satellite that makes the TV programs to be broadcast across the Atlantic.

In 1964, Italy became the fifth country to have artificial satellite. And following year French launched the Asterix. Also, same year first Soviet communication satellite Molniya launched.Germany sends its artificial satellite in 1969 just one year before the Japan and China.

Intelsat III counted as a significant one by enabling the live TV.

In 1974, Spain and Netherlands send the artificial satellites. Ans, which is was send by Netherlands was a space-based X-ray and ultraviolet telescope.

In 1975, India’s first artificial satellite was launch. The next year, Indonesian and 2 years later Czechoslovakian artificial satellites were launched.


“Nothing is harder to image than the past. It is imperative that all Landsat observations are archived and made available to users.”


Bound of Literature – Science fiction and Satellites 

Arthur C. Clark was the first known author who talks about artificial satellites before the satellites were sent to space. Clarke was a science writer, futurist and scuba diver. He was an avid populariser of space travel. Clarke contributed to the popularity of the idea that geostationary satellites would be ideal telecommunications relays.

 

Archive of the J-Fest

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In analytic philosophy, as Ernst (pg 184) mentioned, “the event represents an ontological being that is not a static object but a process”.  Festival as an event indicates a process. It can be represented in many different ways in a digital realm. It may be documentaries, or games, films or animations. However, Since digital archive’s flexible structure can deal with constant updates,  and it can grow over time with upcoming festivals/years, what is fittest for events ontology is the way of the digital archive.

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This archive exist to aggregate videos which belongs to past 10 years of the Turkish Juggling Convention J-Fest.
Archive consists of the videos that describe the sense of the festival more than any existing materials. Some of the videos are not very qualified or professionally recorded but the aim is to put the collection as a whole.

Spontaneity

As an example, the text of mine is written on computer day by day. As if there is no final version, always open to rewrite, but at the same time every time presenting itself as an end; final version. Much like the organic entity. Usually what is common with text is not to publish it till you get the final version. In this case, by digital writing one publishing online, the authoritative quality of printed version which is also related with the aura is violated.

This also conveys the impression of digitally born data practice that refers to electronic mathematical data in which abstract visual and linguistic elements coincide and are circulated. There is no reference to an observer in a “real” optically perceive the world anymore. The data has to extract from the computer rather than inserting from the physical outside world.

Above all, as a behavioural change in a large scale, publishing online at an instant moment means so much. And it is explicitly much more like the face to face communication.