Morning Groups
Al the Pirate
Cheese Quest
The Rise of the Dancing Clay
Heroes
Lucky Penny 777
Optimus Prime 2: the Great War
The Creature Attacks
The Lost Episode
The Rise of the Freaky Phantom
Afternoon Groups
Barbie's Next Top Model
Bombing Raid
Clay vs. Lego
Globzilla
A Gift from Above
Jason vs. Jordan
The Beastly Snowman
Titanic 2: Jaws Arrives
Saturday, July 28, 2007
List of Week 3 Films
Morning Groups
Group 1: Jailbreak
Group 2: Horror at the Tampa Theatre
Group 3: Phantom 101
Group 4: Hanna Montana Comes to the Tampa Theatre
Group 5: Jedi Academy
Group 6: Janitor Rock
Afternoon Groups
Group 1: Triskadekaphobia
Group 2: Lights Out
Group 3: Oddity
Group 4: What Men Want
Group 5: The Secret Life of Athletes
Group 6: The Last Pretzel
Group 1: Jailbreak
Group 2: Horror at the Tampa Theatre
Group 3: Phantom 101
Group 4: Hanna Montana Comes to the Tampa Theatre
Group 5: Jedi Academy
Group 6: Janitor Rock
Afternoon Groups
Group 1: Triskadekaphobia
Group 2: Lights Out
Group 3: Oddity
Group 4: What Men Want
Group 5: The Secret Life of Athletes
Group 6: The Last Pretzel
List of Week 2 Films
Morning Films
Group 1: Mario and Luigi Raiding Bowser's Castle
Group 2: Mr. Tamper's Ghost
Group 3: Girls, Ghosts, and Great Adventures
Group 4: Star Wars VIII
Group 5: The Ghost Worth Following
Afternoon Films
Group 1: Jadana
Group 2: Crazy Celebrities
Group 3: 24: The Terrorist Clowns
Group 4: Capture the Flag
Group 5: The Right Stuff
Group 6: Punked: Tampa Theatre Edition
Group 1: Mario and Luigi Raiding Bowser's Castle
Group 2: Mr. Tamper's Ghost
Group 3: Girls, Ghosts, and Great Adventures
Group 4: Star Wars VIII
Group 5: The Ghost Worth Following
Afternoon Films
Group 1: Jadana
Group 2: Crazy Celebrities
Group 3: 24: The Terrorist Clowns
Group 4: Capture the Flag
Group 5: The Right Stuff
Group 6: Punked: Tampa Theatre Edition
Politics and Other Naughty Words
From: demikoz@aol.com
Subject: pandora's box
Date: July 28, 2007 12:03:18 PM EDT
To: king@tempest.coedu.usf.edu, jlwelsh2@gmail.com
Here's another idea that's been filling my head since last night. I'll call it a parody of "Defecation Hits the Rotating Oscilator" and the "opening of pandora's box. In speaking to a variety of groups (counsellors and students alike) during the afternoon session yesterday, I noticed an interesting loosening of hte conservative teacher reins/reigns/rains (what a great word!) that usually stop the third space from leaking into their private worlds. After talking with a couple of the counsellors last night (briefly) they mentioned the one claymation video shown during the afternoon class, where the word "crap" was used. Apparently, the kids in some groups really wanted to use this word (at least two) and I heard it at least five or six times as I circulated post-movie. In fact, one group used the word "crap" IN their movie. Another group used the word "fart" in their movie. Would they have ever dared to use these words in the land where teachers live in their castles (schools)? By hearing the word"crap" in a demo video, did something (eeee-ew) begin to leak out of Pandora's box???? Hmm.
While discussing htis with three counsellors, the discussion went something like this. The one in charge said the kids really wanted to use it. She respected their wishes and really didn't see that much of a problem. One looked uncomfortable until we discussed the origin o f hte word and the fact that Mr. (can't remember his first name) Crapper invented the toilet. Then she laughed and said it was kind of like a tribute word. We all laughed...maybe nervously...did we jump out of the middle ground? What did this mean? That grou palso created a monster called "Mr. Fricken Awesome". fricken spelled like chicken (fricken chicken-already modified through pop culture ) rather than fricking .
Then there is the Political Animation group. One of hte kids (particularly brilliant and film savvy) originally brought in multiple pictures of Kenny (south park) as an idea of a movie (multiple deaths of Kenny). He also brought two other pictures...an image of George W. Bush and a Monkey. He said to me, don't they look the same. Then he looked at his paper where he had written P.A. to stand for paper animation and wrote the P.A. beside his Bush idea and said "p.a. paper animation or political animation" and laughed. When speaking with the kids aftwards on the interview the alluded to a reference in the credits about the name for Bush. They also said they hoped they wouldn't be sued and that Bush wasn't offended and maybe he really liked tacos (they had decided he could say 'I like tacos' on the screeen) . They also said they were both democrats and "everyone" loved to make fun of Bush...that is why they used his image in the movie. When speaking to the counsellor later, she said they actually wanted Bush to appear and say stupid things and actually say he was stupid. At the end of hte movie, they gave credit to "Dubya" instead of namoing Bush. The inside scoop from the counsellor is that they actually wanted to give credit to "Dumya" and she had to censor their work. You could tell she had an extreme dileme on her hands...on one hand she wanted to allow their creative genius...this was film camp not school. On the other hand, what was appropriate when the worlds collide? In convergence culture, when the kids have so much knowledge, what is happening?
So then we spoke about the political nature of the talking head showing up on the scene. Without going into the "text-to-world" connection of Bush being a talking head while all the killing goes on around him, these kids seemed to really be world intelligent. I mentioned their talk about being democrats and two of the other counsellors said that must have come from their parents. But then again, I wonder if it is just parents? I remember being in third grade and having political difficulties with my best friend. We eventually parted ways and I became friends with another girl whose political ideology was more in line with the one I was developing based on my father's strong influence (he has always talked politics and war with me). I was eight atthe time and can distinctly remember feeling saddened by this parting. I also remember why I couldn't agree with her. I took what my father taught me and applied it to the real world. Obviously these kids (at 10) can have these strong political beliefs and feelings. Except now with the internet they can actually become more literate about the situations ( much more than I could in the 70's). The god-like quality of government during hte time of war has diminished to demi-god. The public is becoming more educated world-wide. They are beginning to realize that most "truth" fed to them in the past as news or history is really faction...a semi-fictional account of fact told from a specific ideology. A fictional world does not need to be created for them. When people tire of the real world, they can easily escape into a "second-life" kind of world. Fact does not need to be disguised so much in a world where people are increasingly more intelligent and able to use their "inner fairy godmother" to resolve conflicts rather than waiting for the "wizard of oz" to tell them what they can or cannot do.
So what's a counsellor to do? Waht Are the leaders of the camp to do? Does this make its way onto the website???? Did we open Pandora's box. If so how far open did it actually get? Will the sh*t hit the fan? How do we respect the voices of these intelligent and creative children and still keep it "cute"...without really letting hte world know how insightful and intelligent they really are???????
________________________________________________________________________
AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com.
Subject: pandora's box
Date: July 28, 2007 12:03:18 PM EDT
To: king@tempest.coedu.usf.edu, jlwelsh2@gmail.com
Here's another idea that's been filling my head since last night. I'll call it a parody of "Defecation Hits the Rotating Oscilator" and the "opening of pandora's box. In speaking to a variety of groups (counsellors and students alike) during the afternoon session yesterday, I noticed an interesting loosening of hte conservative teacher reins/reigns/rains (what a great word!) that usually stop the third space from leaking into their private worlds. After talking with a couple of the counsellors last night (briefly) they mentioned the one claymation video shown during the afternoon class, where the word "crap" was used. Apparently, the kids in some groups really wanted to use this word (at least two) and I heard it at least five or six times as I circulated post-movie. In fact, one group used the word "crap" IN their movie. Another group used the word "fart" in their movie. Would they have ever dared to use these words in the land where teachers live in their castles (schools)? By hearing the word"crap" in a demo video, did something (eeee-ew) begin to leak out of Pandora's box???? Hmm.
While discussing htis with three counsellors, the discussion went something like this. The one in charge said the kids really wanted to use it. She respected their wishes and really didn't see that much of a problem. One looked uncomfortable until we discussed the origin o f hte word and the fact that Mr. (can't remember his first name) Crapper invented the toilet. Then she laughed and said it was kind of like a tribute word. We all laughed...maybe nervously...did we jump out of the middle ground? What did this mean? That grou palso created a monster called "Mr. Fricken Awesome". fricken spelled like chicken (fricken chicken-already modified through pop culture ) rather than fricking .
Then there is the Political Animation group. One of hte kids (particularly brilliant and film savvy) originally brought in multiple pictures of Kenny (south park) as an idea of a movie (multiple deaths of Kenny). He also brought two other pictures...an image of George W. Bush and a Monkey. He said to me, don't they look the same. Then he looked at his paper where he had written P.A. to stand for paper animation and wrote the P.A. beside his Bush idea and said "p.a. paper animation or political animation" and laughed. When speaking with the kids aftwards on the interview the alluded to a reference in the credits about the name for Bush. They also said they hoped they wouldn't be sued and that Bush wasn't offended and maybe he really liked tacos (they had decided he could say 'I like tacos' on the screeen) . They also said they were both democrats and "everyone" loved to make fun of Bush...that is why they used his image in the movie. When speaking to the counsellor later, she said they actually wanted Bush to appear and say stupid things and actually say he was stupid. At the end of hte movie, they gave credit to "Dubya" instead of namoing Bush. The inside scoop from the counsellor is that they actually wanted to give credit to "Dumya" and she had to censor their work. You could tell she had an extreme dileme on her hands...on one hand she wanted to allow their creative genius...this was film camp not school. On the other hand, what was appropriate when the worlds collide? In convergence culture, when the kids have so much knowledge, what is happening?
So then we spoke about the political nature of the talking head showing up on the scene. Without going into the "text-to-world" connection of Bush being a talking head while all the killing goes on around him, these kids seemed to really be world intelligent. I mentioned their talk about being democrats and two of the other counsellors said that must have come from their parents. But then again, I wonder if it is just parents? I remember being in third grade and having political difficulties with my best friend. We eventually parted ways and I became friends with another girl whose political ideology was more in line with the one I was developing based on my father's strong influence (he has always talked politics and war with me). I was eight atthe time and can distinctly remember feeling saddened by this parting. I also remember why I couldn't agree with her. I took what my father taught me and applied it to the real world. Obviously these kids (at 10) can have these strong political beliefs and feelings. Except now with the internet they can actually become more literate about the situations ( much more than I could in the 70's). The god-like quality of government during hte time of war has diminished to demi-god. The public is becoming more educated world-wide. They are beginning to realize that most "truth" fed to them in the past as news or history is really faction...a semi-fictional account of fact told from a specific ideology. A fictional world does not need to be created for them. When people tire of the real world, they can easily escape into a "second-life" kind of world. Fact does not need to be disguised so much in a world where people are increasingly more intelligent and able to use their "inner fairy godmother" to resolve conflicts rather than waiting for the "wizard of oz" to tell them what they can or cannot do.
So what's a counsellor to do? Waht Are the leaders of the camp to do? Does this make its way onto the website???? Did we open Pandora's box. If so how far open did it actually get? Will the sh*t hit the fan? How do we respect the voices of these intelligent and creative children and still keep it "cute"...without really letting hte world know how insightful and intelligent they really are???????
________________________________________________________________________
AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com.
Thursday, July 19, 2007
Prelim notes on Week 1 Afternoon Films
Group 1: Poultrygeist 2: Refried
Sequel to last summer's movie about a ghost chicken stalking people at the Tampa Theatre.
Slow mo entrance, low angle shot. Wills line delivery and removing glasses, referencing a movie? Maybe Dirty Harry or Bond? Parallel introductions for humor. Switching between two two-shots instead of one wide shot. Comic tone throughout. Chicken sound effect and shadow used to suggest monster. Tourist character frequently addresses the camera with a running commentary about the film. They are all constantly aware of the audience and their humor is self-referential. Extreme close-up on first victim's face, followed by dropping glasses in slow motion, accompanied by dramatic music. Ends with "Coming Summer 2008 - Poultrygeist 3: Burnt to a Crisp".
Group 2: Axe Effect
Parody of the Axe Effect Commercials in which a boy uses Axe body spray and then is pursued by girls. The manager of the theater hires a girl to go undercover to observe the girls who were supposed to be working. The boy is portayed by a girl. The undercover girl is disguised as a nerd. Star effect and slow tilt up and down of girl's body to show the contrast between nerd and non-nerd. It seems like the story may have shifted during the creation of the film.
Group 3 Harrietta Sculptor
The story of a girl wizard based on Harry Potter. Lightning scar on cheek. Tries to walk through wall. Used theater seats to simulate train. Radial wipe to signify passage of time? Audio problems throughout. Includes Harry Potter elements, like different classes, talking paintings, flying brooms, wands, etc. Chipmunk scene in darkness. Shadow and voice over suggests chipmunk. Outtakes over credits.
Group 4: The Making of 00Q: The Cloning Catastrophe
Behind the scenes documentary for another afternoon group project. Text on screen to show interviewer questions, coupled with music cue. They ask each actor about his or her character. Director considered making a spoof of Ghostbusters (a film from the 1980s), then considered a spoof of Indiana Jones (film series from the 80s and 90s), then thought of "Casino Royale" (a film from this year), which led him to this James Bond spoof. Interesting that most of the movies he considered spoofing were made before he was born. Videotaped play under credits.
Group 5: Monday Morning Coffee
Collection of TV parodies. The skits begin with a commercial for Hatchet Body Spray, parody of Axe. Standup comedian segment. Man-on-the-street interviews begining with two who don't answer. Third person responds "Paris" as a country. M. corrects her in his response.
Group 6: 00Q: The Cloning Catastrophe
Parody of a "James Bond" movie. The title is pronounced "double-oh cue". Slow motion walking. Voice over for cell phone caller. The way 00Q uses his cell phone communicates his character. Remote control miniature car used for 00Q's car, with revving sound effect. Exterior scenes in this movie are shot outside, which is more realistic and not typical. 00Q is wearing a lined leather jacket for the character, but it was very hot outside that day. On screen text to point out joke about 00Q burning his hand on metal from hot laser beam. 00Q is breaking into a theater in the flim reality, while the worker in the box office is clearly visible. A different camera angle would have hidden her.
James
Sequel to last summer's movie about a ghost chicken stalking people at the Tampa Theatre.
Slow mo entrance, low angle shot. Wills line delivery and removing glasses, referencing a movie? Maybe Dirty Harry or Bond? Parallel introductions for humor. Switching between two two-shots instead of one wide shot. Comic tone throughout. Chicken sound effect and shadow used to suggest monster. Tourist character frequently addresses the camera with a running commentary about the film. They are all constantly aware of the audience and their humor is self-referential. Extreme close-up on first victim's face, followed by dropping glasses in slow motion, accompanied by dramatic music. Ends with "Coming Summer 2008 - Poultrygeist 3: Burnt to a Crisp".
Group 2: Axe Effect
Parody of the Axe Effect Commercials in which a boy uses Axe body spray and then is pursued by girls. The manager of the theater hires a girl to go undercover to observe the girls who were supposed to be working. The boy is portayed by a girl. The undercover girl is disguised as a nerd. Star effect and slow tilt up and down of girl's body to show the contrast between nerd and non-nerd. It seems like the story may have shifted during the creation of the film.
Group 3 Harrietta Sculptor
The story of a girl wizard based on Harry Potter. Lightning scar on cheek. Tries to walk through wall. Used theater seats to simulate train. Radial wipe to signify passage of time? Audio problems throughout. Includes Harry Potter elements, like different classes, talking paintings, flying brooms, wands, etc. Chipmunk scene in darkness. Shadow and voice over suggests chipmunk. Outtakes over credits.
Group 4: The Making of 00Q: The Cloning Catastrophe
Behind the scenes documentary for another afternoon group project. Text on screen to show interviewer questions, coupled with music cue. They ask each actor about his or her character. Director considered making a spoof of Ghostbusters (a film from the 1980s), then considered a spoof of Indiana Jones (film series from the 80s and 90s), then thought of "Casino Royale" (a film from this year), which led him to this James Bond spoof. Interesting that most of the movies he considered spoofing were made before he was born. Videotaped play under credits.
Group 5: Monday Morning Coffee
Collection of TV parodies. The skits begin with a commercial for Hatchet Body Spray, parody of Axe. Standup comedian segment. Man-on-the-street interviews begining with two who don't answer. Third person responds "Paris" as a country. M. corrects her in his response.
Group 6: 00Q: The Cloning Catastrophe
Parody of a "James Bond" movie. The title is pronounced "double-oh cue". Slow motion walking. Voice over for cell phone caller. The way 00Q uses his cell phone communicates his character. Remote control miniature car used for 00Q's car, with revving sound effect. Exterior scenes in this movie are shot outside, which is more realistic and not typical. 00Q is wearing a lined leather jacket for the character, but it was very hot outside that day. On screen text to point out joke about 00Q burning his hand on metal from hot laser beam. 00Q is breaking into a theater in the flim reality, while the worker in the box office is clearly visible. A different camera angle would have hidden her.
James
Wednesday, July 18, 2007
Prelim Notes on Week 1 Morning Films
Group 1: Tampa Theatre's Phantom
Two girls and their grandfather are attacked by a phantom in the Tampa Theatre.
Opens with black and white footage and music for segment that took place in the past. Extreme closeup. Suspense music. Text on screen to indicate change in time period.
Group 2: It!
A boy finds a magic stone that lets him reverse time.
Sound effect and reverse effect used in combination. Twinkle effect used on magic stone. Text on screen to help explain plot. Outtakes over credits
Group 3: The Ghost of Anna Maria
Girls meet a friendly ghost and solve a mystery. Gender analysis? Aged film effect to show past - inconsistent. Text on screen to indicate time passage. "Will they ever learn?" ending. Outtakes over credits.
Group 4: Napoleon Dynamite 2: Return to the Past
Secret agent Napoleon Dynamite is sent to the past to recover the Hope diamond.
Shirts, dialogue, and body movements mimic pop character. Aged film effect to show action in the past. Mixing up identical suitcases device. Text on screen to indicate time period.
Group 5: The Phantom of the Tampa Theatre
One friend dares another to stay overnight in the Tampa Theatre. He does and he gets killed by the Phantom. Dutch angles. Point of view shots. Closeup adds tension. Slow motion, why? Ghost trails effect for chase scene. Thunder and fog effects in conjunction. "They'll never find me here." with phantom behind him. CU of watch. Picture of group over credits.
Two girls and their grandfather are attacked by a phantom in the Tampa Theatre.
Opens with black and white footage and music for segment that took place in the past. Extreme closeup. Suspense music. Text on screen to indicate change in time period.
Group 2: It!
A boy finds a magic stone that lets him reverse time.
Sound effect and reverse effect used in combination. Twinkle effect used on magic stone. Text on screen to help explain plot. Outtakes over credits
Group 3: The Ghost of Anna Maria
Girls meet a friendly ghost and solve a mystery. Gender analysis? Aged film effect to show past - inconsistent. Text on screen to indicate time passage. "Will they ever learn?" ending. Outtakes over credits.
Group 4: Napoleon Dynamite 2: Return to the Past
Secret agent Napoleon Dynamite is sent to the past to recover the Hope diamond.
Shirts, dialogue, and body movements mimic pop character. Aged film effect to show action in the past. Mixing up identical suitcases device. Text on screen to indicate time period.
Group 5: The Phantom of the Tampa Theatre
One friend dares another to stay overnight in the Tampa Theatre. He does and he gets killed by the Phantom. Dutch angles. Point of view shots. Closeup adds tension. Slow motion, why? Ghost trails effect for chase scene. Thunder and fog effects in conjunction. "They'll never find me here." with phantom behind him. CU of watch. Picture of group over credits.
List of Week 1 Films
AM Groups
Group 1: Tampa Theatre's Phantom
Group 2: It!
Group 3: The Ghost of Anna Maria
Group 4: Napoleon Dynamite 2: Return to the Past
Group 5: The Phantom of the Tampa Theatre
PM Groups
Group 1: Poultrygeist 2: Refried
Group 2: Axe Effect
Group 3: Harrietta Sculptor
Group 4: The Making of "00Q: The Cloning Catastrophe"
Group 5: Monday Morning Coffee
Group 6: 00Q: The Cloning Catastrophe
Group 1: Tampa Theatre's Phantom
Group 2: It!
Group 3: The Ghost of Anna Maria
Group 4: Napoleon Dynamite 2: Return to the Past
Group 5: The Phantom of the Tampa Theatre
PM Groups
Group 1: Poultrygeist 2: Refried
Group 2: Axe Effect
Group 3: Harrietta Sculptor
Group 4: The Making of "00Q: The Cloning Catastrophe"
Group 5: Monday Morning Coffee
Group 6: 00Q: The Cloning Catastrophe
Sunday, July 1, 2007
Memes and Rhyzomes
On Friday I spent the afternoon surfing the web for articles on memes. Dawkins was the originator of the term in his seminal text the Selfish Gene in 1976. Since then, a variety of researchers, theorists, and pop-culturalists ahve latched onto the term. Some theorists have tried (in my opinion) too hard to define memes as entities onto themselves. by sticking hard and fast to the analogy with genes, memes risk becoming trapped inside a metaphor. This is a meme, it is just like this, it will always be like this unless something from the outside changes it. in these articles, memes take on a structure like Evolution. I think it's more like chaos theory. I think memes function more like rhizomes (Deleuze and Guattari). Although external forces can work on them to transform them, sometimes they just take on a life of their own....So how should we analyze our memes????
Hayles, N. Katherine
Desiring Agency: Limiting Metaphors and Enabling Constraints in Dawkins and Deleuze/Guattari
SubStance - Issue 94/95 (Volume 30, Number 1&2), 2001, pp. 144-159
University of Wisconsin Press
SubStance 30.1&2 (2001) 144-159 _________________________________________________________________ [Access article in PDF] Desiring Agency: Limiting Metaphors and Enabling Constraints in Dawkins and Deleuze/Guattari N. Katherine Hayles _________________________________________________________________ Recent work in the cultural studies of science has shown the importance of metaphoric networks for scientific inquiry. Sometimes these networks have functioned to lead scientists in the wrong direction. For example, metaphoric equations developed in nineteenth-century physiology mapped Africans, women, and animals onto one another to the detriment of all three categories, as Nancy Leys Stepan has shown. But more often, metaphors have opened up fruitful lines of inquiry, as when Norbert Weiner saw metaphoric correspondences between prosthetic devices and cybernetic machines ("Sound Communication"). It is not easy to determine where the limits of metaphor should be drawn. In some sense almost all language can be considered metaphoric, as Michael Arbib and Mary Hesse argue in discussing metaphoric resonance in measurement. Indeed, even mathematics can be considered metaphorical, as Norbert Weiner pointed out when he observed that mathematics was "the most colossal metaphor imaginable" (Human Use, 95). So can sense perception, as Walter Freeman and Gregory Bateson among others have argued, for perceptual experiences are metaphors for reality rather than representations of reality. In Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought, George Lakoff and Mark Johnson give this idea a linguistic turn when they argue that metaphor connects abstract thought with embodied experience, providing a grounding we often fail to see precisely because it is so pervasive and fundamental. These diverse...
Hayles, N. Katherine
Desiring Agency: Limiting Metaphors and Enabling Constraints in Dawkins and Deleuze/Guattari
SubStance - Issue 94/95 (Volume 30, Number 1&2), 2001, pp. 144-159
University of Wisconsin Press
SubStance 30.1&2 (2001) 144-159 _________________________________________________________________ [Access article in PDF] Desiring Agency: Limiting Metaphors and Enabling Constraints in Dawkins and Deleuze/Guattari N. Katherine Hayles _________________________________________________________________ Recent work in the cultural studies of science has shown the importance of metaphoric networks for scientific inquiry. Sometimes these networks have functioned to lead scientists in the wrong direction. For example, metaphoric equations developed in nineteenth-century physiology mapped Africans, women, and animals onto one another to the detriment of all three categories, as Nancy Leys Stepan has shown. But more often, metaphors have opened up fruitful lines of inquiry, as when Norbert Weiner saw metaphoric correspondences between prosthetic devices and cybernetic machines ("Sound Communication"). It is not easy to determine where the limits of metaphor should be drawn. In some sense almost all language can be considered metaphoric, as Michael Arbib and Mary Hesse argue in discussing metaphoric resonance in measurement. Indeed, even mathematics can be considered metaphorical, as Norbert Weiner pointed out when he observed that mathematics was "the most colossal metaphor imaginable" (Human Use, 95). So can sense perception, as Walter Freeman and Gregory Bateson among others have argued, for perceptual experiences are metaphors for reality rather than representations of reality. In Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought, George Lakoff and Mark Johnson give this idea a linguistic turn when they argue that metaphor connects abstract thought with embodied experience, providing a grounding we often fail to see precisely because it is so pervasive and fundamental. These diverse...
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