Framer Framed

Framer Framed brings together for the first time the scripts and detailed visuals of three of Trinh Minh-ha's provocative films: Reassemblage, Naked Spaces--Living is Round, and Surname Viet Given Name Nam.

Today, people in different situations and contexts face intercultural challenges. These are a result of increasing mobility. Sometimes such challenges are brought about by crisis situations and an international labor market. However, people also come in contact with each other through forms of new technology such as the Internet, and through literature and film. In these multicultural encounters, misunderstandings and sometimes clashes are experienced. This volume presents studies in culture, communication, and language, all of which strive, through a variety of theoretical perspectives, to develop understanding of such challenges and perhaps offer practical solutions. Encountering otherness may evoke fears, negative attitudes, and a corresponding will to dismiss the otherness in front of us—either consciously or unconsciously. This denial of otherness may also be subtle. Thinking about otherness, as described in this volume, also raises questions about how otherness is represented and mediated and about the possible role of third parties in facilitating communication in such situations. Sometimes a third party can play a crucial role in facilitating the communication process and serve as a channel of communication. Trust in humanity as a bridge to community requires a subtle balance between representations of self and other. Various problems arise in intercultural mediation, which may be caused by cultural and political differences, and these are sometimes used to validate stereotypical beliefs and images. The editors argue that in both academic and art circles, European perspectives have widely been understood as universal.

Norman K Denzin ponders the prospects, problems and forms of ethnographic interpretive writing in the twenty-first century. He argues that postmodern ethnography is the moral discourse of the contemporary world, and that ethnographers can and should explore new types of experimental texts to form a new ethics of inquiry.

In Asian America Through the Lens, Jun Xing surveys Asian American cinema, allowing its aesthetic, cultural, and political diversity and continuities to emerge.

“Cukier and his co-authors have a more ambitious project than Kahneman and Harari. They don’t want to just point out how powerfully we are influenced by our perspectives and prejudices—our frames. They want to show us that these frames are tools, and that we can optimise their use.” —Forbes From pandemics to populism, AI to ISIS, wealth inequity to climate change, humanity faces unprecedented challenges that threaten our very existence. The essential tool that will enable humanity to find the best way foward is defined in Framers by internationally renowned authors Kenneth Cukier, Viktor Mayer-Schönberger, and Francis de Véricourt. To frame is to make a mental model that enables us to make sense of new situations. Frames guide the decisions we make and the results we attain. People have long focused on traits like memory and reasoning, leaving framing all but ignored. But with computers becoming better at some of those cognitive tasks, framing stands out as a critical function—and only humans can do it. This book is the first guide to mastering this human ability. Illustrating their case with compelling examples and the latest research, authors Cukier, Mayer-Schönberger, and de Véricourt examine: · Why advice to “think outside the box” is useless · How Spotify beat Apple by reframing music as an experience · How the #MeToo twitter hashtag reframed the perception of sexual assault · The disaster of framing Covid-19 as equivalent to seasonal flu, and how framing it akin to SARS delivered New Zealand from the pandemic Framers shows how framing is not just a way to improve how we make decisions in the era of algorithms—but why it will be a matter of survival for humanity in a time of societal upheaval and machine prosperity.

Why were U.S. intelligence organizations so preoccupied with demystifying East and Southeast Asia during the mid-twentieth century? Sunny Xiang offers a new way of understanding the American cold war in Asia by tracing aesthetic manifestations of “Oriental inscrutability” across a wide range of texts. She examines how cold war regimes of suspicious thinking produced an ambiguity between “Oriental” enemies and Asian allies, contributing to the conflict’s status as both a “real war” and a “long peace.” Xiang puts interrogation reports, policy memos, and field notes into conversation with novels, poems, documentaries, and mixed media work by artists such as Theresa Hak Kyung Cha, Kazuo Ishiguro, Ha Jin, and Trinh T. Minh-ha. She engages her archive through a reading practice centered on tone, juxtaposing Asian diasporans who appear similar in profile yet who differ in tone. Tonal Intelligence considers how the meaning of race, war, and empire came under pressure during two interlinked periods of geopolitical transition: American “nation-building” in East and Southeast Asia during the mid-twentieth century and Asian economic modernization during the late twentieth century. By reading both state records and aesthetic texts from these periods for their tone rather than their content, Xiang shows how bygone threats of Asian communism and emergent regimes of Asian capitalism have elicited distinct yet related anxieties about racial intelligibility. Featuring bold methods, unlikely archives, and acute close readings, Tonal Intelligence rethinks the marking and making of race during the long cold war.

British filmmaker Peter Greenaway says life offers only two subjects: “One is sex and the other is death.” Greenaway uses both and romanticizes neither; indeed, his goal is the antithesis of the sanitary and sentimental portrayal of humanity. Although his films have met with outrage from some viewers, cult audiences praise them for insightful messages: that people are detached from violence because they fail to see others’ bodies as identical to their own; that predatory capitalism has caused humans to lose sight of our shared physicality and mortality; and that taboos are simply a system allowing people to exercise power over others. This book examines nine of Greenaway’s feature films, dedicating a chapter to each: The Draughtsman’s Contract; A Zed and Two Noughts; The Belly of an Architect; Drowning by Numbers; The Cook, the Thief, His Wife and Her Lover; Prospero’s Books; The Baby of Mâcon; The Pillow Book; and 8 1⁄2 Women. The author examines the characters and plot, studies the structure and elements of the story, explores Greenaway’s motives and reactions, and reveals audience reactions, including comments from viewers. A filmography lists films written and directed by Peter Greenaway from 1962 to 2004.

This book analyses the intersections between contemporary art and environmental activism in Indonesia. Exploring how the arts have promoted ecological awareness from the late 1960s to the early 2020s, the book shows how the arts have contributed to societal change and public and political responses to environmental crises. This period covers Indonesia’s rapid urban development under the totalitarian New Order regime (1967–1998) as well as the enhanced freedom of expression, alternative development models, and environmental problems under the democratic governments since 1998. The book applies the concept of ‘artivism’ to refer to the vital role of art in activism. It seeks to identify and contextualise both the potential and limits of environmental artivism in Indonesia, a country whose vibrant art scenes and monumental social transformations provide a productive laboratory for exploring the power of creativity as a social and political change agent. It provides a comprehensive overview of contemporary art from Indonesia, with an in-depth analysis of artivists who seek to address and find solutions for some of the most pressing environmental issues of our times. With its detailed, empirical approach to environmental art from Southeast Asia, this project fills in an important gap in the literature on art and activism. It is aimed at academics, students, artists, curators, policymakers, activists, and general readers with an interest in the environment, art history, and Indonesian culture, society, and politics.