Monday, April 06, 2020

Amatl Comix -- the Comic Book Publishing Imprint of SDSU Press -- Says, "Viva Charlie Brown!"

With All the Great Reviews of Fanny Daubigny's PROUST IN BLACK Rolling In, Isn't it Time You Got a Copy of Your Own!?

Fanny Daubigny's PROUST IN BLACK, from Hyperbole Books and SDSU Press!
Glossy Full Color Limited Edition | Regular Full Color Edition

From San Diego State University Press -- Clichetes by Philadelpho Menezes #sdsupress

 SDSU Press

Poetics and Visuality: A trajectory of contemporary Brazilian poetry

--> Check it out here! <-- 

Description
Philadelpho Menezes's Poetics & Visuality offers an account of the development of extreme poetic practices in a country known for its commitment to experimentation. This richly illustrated history begins with spatialism, to which concretism comes as a corrective ordering in the early 1950s. The "visual poetry" of the last decades is cogently theorized as inter sign poetry (collage, package, montage poetries), a movement that has drawn international attention.

wikiBIO
wikiBIO: Philadelpho Menezes (born in 1960 in São Paulo, Brazil, died, 2000, Brazil, in a car accident). Brazilian poet, visual poet, pioneer of new media poetry, professor in the Communication and Semiology post-graduation program at the Pontifical University of São Paulo. He performed research for his post-graduate degree at the University of Bologna, in Italy (1990). With Brazilian artist Wilton Azevedo Philadepho Menezes created a pioneer intermedia-poetry CD-ROM: "InterPoesia. Poesia Hipermidia Interativa" (1998). In Italy he collaborated with the first net-poetry project: Karenina.it, by Italian artist Caterina Davinio.

Information from within
The goal of this study is to furnish a theoretical framework for reflections on the pathways taken by experimental poetry in Brazil. At the same time, I hope to suggest that these increasingly intricate formulations might map out their own zone, thereby allowing the method herein elaborated to be applied to other kinds of cultural experimentation. The reader of poetry today all too frequently is confused by a body of material that seems to be little more than a collection of formal exercises that take their origins ex nihilo. I will try to undo this error by showing the inverse: in the apparent chaos of avant-garde Brazilian poetry, there is a backbone that structures a trajectory in the direction of an incorporation of visuality in the poem, a depositing of the poetic function in the visual image.



Friday, April 03, 2020

An Interview with Dr. Alvaro Huerta: Reframing the Latino Immigration Debate: Towards a Humanistic Paradigm, San Diego State University Press



Originally Published September 3, 2013 | Revised April 3, 2020


Dr. Alvaro Huerta authored the newest title to our SDSU Press collection, Reframing the Latino Immigration Debate: Toward a Humanistic Paradigm. Dr. Huerta holds a B.A. (history) and M.A. (urban planning) from UCLA. Also, he holds a Ph.D. (city and regional planning) from UC Berkeley. He is currently conducting interdisciplinary work in the UCLA Chicano Chicana Studies program for top scholarly journals through the studies of urban planning / community development, civic engagement / community organizing, immigration, Chicana/o--Latina/o studies / history, social network analysis; the informal economy. This interview took place over email on the anniversary of the "Chicano Moratorium," August 29, and was preceded by a phone interview. 

SDSU Press:

When did you start writing? Why?
Dr. Alvaro Huerta
I first started writing this book while completing my dissertation at UC Berkeley’s City and Regional Planning program. It was actually not my intention to write or conduct research on the politics of immigration while at Berkeley. I was more interested, at the time, on the history of cities in the U.S. and the people who occupy them, particularly Chicana/os and other Latina/o groups. I was and continue to be interested in scholarly issues, such as labor, social movements and the informal environment.
However, while immersed in completing my dissertation I felt morally compelled to say something about the rise of xenophobia in the last several years with the draconian immigration laws in Arizona and other states. As a son of Mexican immigrants and public intellectual, I couldn’t bury my head in the sand any longer while elected officials, primarily Republicans and other conservatives, perpetuated lies and contradictions against the mostly honest, hardworking Latina/o immigrants in this country. Instead of blaming Wall Street and deregulations of the banks during the height of the Great Recession, many local, state and national elected officials blamed low-wage Latinas/os for America’s social and economic woes.
To complicate matters, Latina/o leaders and elected officials mostly stayed quite during this time period (and to the present). Given that my job is to be a critical thinker and to question the status quo, I started to write social commentaries based on my scholarly research and family history to reframe the Latina/o immigration debate from a negative story to a positive narrative. My aim remains to provide my expertise commentary based on empirical research, rejecting the pejorative and popular views against Latina/o immigrants that only benefit elected officials and their desire to find convenient scapegoats during America’s uneasy economic and political climate. Also, in order to appeal to the white, working class vote and their economic anxieties, Republican leaders and other conservatives conveniently blame low-wage immigrants for the bleak plight of the former.

Photograph by Antonio Turok, click to enlarge
Interviewer
Why should we write from experience, especially when students are told not too?
Dr. Alvaro Huerta
As someone who has taught at UCLA and UC Berkeley, I always tell my students to base their arguments on facts and not personal opinions. While I never judge my students for the political views, I challenge all of them to support their claims with solid evidence. It’s not enough to say that “immigrants represent social burdens,” for example, you can give evidence to back up that statement. Although my first question towards that claim would be do immigrants receive government aid (welfare), social security, Medicare, etc., especially since these programs represent major federal expenditures? If not, what would be the the basis of that claim?
That said, as part of my efforts to humanize the Latina/o immigration debate, I started to write about my own history, as a son of Mexican immigrants. My late mother, for example, worked as a domestic worker for over forty years. Meanwhile, my late father worked as a farmworker during the Bracero Program and later a factory worker for an auto rim factory where he toiled as a janitor for the minimum wage ($3.25 at the time) for over a decade. By telling their stories, I want to give concrete examples of Latina/o immigrants working hard and making sacrifices in this country with little financial compensation. They do so not for themselves, mainly, but for children and families back home via remittances. They do not represent social burdens; they are mostly honest, hardworking individuals who only want to improve their status and that of their family members. It is for them that I write. It is for them that I spent countless hours in the library. It is, in short, for los de abajo /those on the bottom that motivated me to write my first book.
Photograph by Antonio Turok, click to enlarge
Interviewer
"Chicanos say that if you have to ask you'll never understand much less become, a Chicano...the word Chicano is as difficult to define as 'soul.'" 
In the spirit of Ruben Salazar, what does Chicano mean to you?

Dr. Alvaro Huerta

I embrace the words Chicana and Chicano. I first heard of the term “Chicano” in high school and it made sense to me at the time. I did not fully understand it, even after reading many of Ruben Salazar’s articles. It was not until I entered UCLA as a freshman that I better understood the term and the importance of any ethnic group to self-identify how they desire. I love the phrase “black is beautiful,” for example, and find the word “Chicano” to have similar connotations, mainly that “brown is also beautiful.”

I honestly find it tiring to be the only brown person or Chicano in the room. Sometimes I wished that I did not have to deal with race or the burden that those of us who entered privileged universities, like UCLA and UC Berkeley, must carry on a daily basis. I would actually prefer to be treated with other labels or characteristics, such as a caring or compassionate person, but I know that when I go to the library at UC Berkeley or walk into a Starbucks in the suburbs, I am a “Mexican.” Thus, even for those that reject the labels “Mexican” or “Chicana/o,” at the end of the day, mainstream society will always remind them, or us, that we represent “the Other.” That being the case, I embrace being different; I embrace my brown color; and, most importantly, as a social scientist, I am embrace the ethical responsibility of producing research that serves the public good.

Click to buy Reframing the Latino Immigration Debate

If you want to learn more about Dr. Alvaro Huerta and his work visit his site:
https://sites.google.com/site/alvarohuertasite/home


Thursday, April 02, 2020

Naief Yehya's DRONE VISIONS! On Sale Now! Cutting Edge Cultural Studies Focused on Surveillance, Drone Culture, and Remote Control Death and Destruction in Science Fiction Cinema

Sunday, March 29, 2020

A New Book From Hyperbole Books, An SDSU Press Imprint: Naief Yehya Interview on Drone Visions: A Brief Cyberpunk History of Killing Machines

Naief Yehya: An Interview with the Author of Drone Visions
Kaylee Arca

In celebration of Naief Yehya's new book Drone Visions: A Brief Cyberpunk History of Killing Machines, Kaylee Arca interviewed Yehya on cyberpunk, technology and inspiration. Buy a copy here.

click to enlarge
Kaylee Arca: Drone visions explores cyberpunk and technopolitics through the lens of film, videogames and technology. What was your inspiration for writing on the influence of cyberpunk on war? 

Naief Yehya: When cyberpunk appeared, it was perceived as an anarchic and liberating force. It was a mix of the technological and the biological, energized by the rebel spirit of punk music, a universe of hybrid beings capable of throwing the world off balance. It was an appropriation of technology by “the street,” imagined as an empowering strategy that consisted in taking technological tools from corporations and governments, improving them, using them for the common good and empowering the imagination. But eventually the trend was inverted and what had been retrofitted and redesigned to be used by the people was retaken and recycled by industry and the military. This applies mostly to software, but it happened all over the technological landscape. I believe that movies and other popular culture artifacts that belonged to that subgenre of science fiction became very relevant in the way we adopted new technologies. Cyberpunk made high tech sexy and brought it to the masses. Suddenly we were surrounded by innovative communication devices, cyborgs, computers, screens everywhere and all kinds of gadgets but also by weapons and killing machines capable, at least in theory, of choosing their targets.

Drone Visions' back cover: Click to enlarge

KA: How and when did you become interested in weapons like drones and missiles? 

NY: I became really interested in missiles and this kind of weaponry during the first Gulf War. Especially, I found myself concerned and terrified by the missile-camera that the USA used against certain targets in Iraq. It was in part a propaganda campaign to prove the smartness of its bombs. These devices turned the war into a spectacle, entertainment pretending to be information. The idea of being able to see the path of the missile all the way to the point of impact and witness, in a flash, the destruction of the lenses, thecamera, the bomb and the building was a reminder of the pornographic image syntax:the obsession of showing the unshowable, a penetrating gaze that tries to reveal more and more, and of the money shot, the external sperm shot that validates the porn narrative.The war drone takes this logic a step further by becoming, in the imagination of politicians and military strategist, an all-seeing eye, an indefatigable, persistent, patient, Never-blinking spying device and precise enforcer. The use of this machine in the theatre of war has been portrayed as prodigious, infallible and a lifesaving resource for the military in a series of never-ending wars. I’m terrified and fascinated by these deadly machines and the way they have been normalized, standardized and accepted as the humanitarian option in war. 

KA: Do you have experience with the weapons you discuss? 

NY: No, just from my research. I don’t like weapons. I like studying them and their psychological, cultural, moral, economic, political impact. 

Page spread from Drone Visions--more below, all are large/high res clickable images
KA: Has tech-noir and cyberpunk personally affected you? 

Enormously. Since I discovered cyberpunk, my work shifted permanently. I received a degree in industrial engineering and have always been fascinated by machinery. So,when I found out that you could actually write about technology and think about The implications of our relationship to gadgets and machines, particularly intelligent machines,I knew I had found my calling. Since then, I have written about cyborgs, pornography, war, the internet and the media sphere from the point of view of how we engage with the technologies that made those phenomena possible. During the 90s these topics were considered unworthy by most of my colleagues, there were not literary enough, too niche and morbid. But now we live in a highly technological time and, in one way or another, we’re all immersed in a techno culture. 


KA: How did you choose Mad Max, Alien, Blade Runner and The Terminator to examine? 

I believe that those films are the canon of cyberpunk. Besides being extraordinary films that were ahead of their time, they were viewed as genre entertainment when in fact they were fascinating masterpieces that spoke about the human condition at a time of fundamental transition. Just like John Ford's westerns showed the transformation of society in a new world when the wild west “opened,” these movies reflected on the inevitable changes to the Human condition at a time when technology was redefining the boundaries of the biological and the mechanical, the evolved and the manufactured, and the appearance of cyberspace. All these films —which started before the massification of the internet, cell phones and the digitization of everything— have sequels, some even have prequels and reboots, and I believe these serials have been amazing at keeping track of the changes that our technologies and dreams of technology have brought. I try to prove in the book that even the lesser products from these franchises and films derived from them are revealing in many ways. 



KA: How is Drone Visions different from your other published works? 

The main difference is that Drone Visions was going to be a part of another book thatI have almost finished and which is a more straightforward history of the war drone.The part of that book devoted to the cultural history of the drone became too voluminous and eventually it became evident that it was a book in itself which gave birth to Drone Visions as an independent project. Technology changes quickly and continuously, making the research and writing process very challenging. And it was difficult to have access to military sources. 

KA: What was your writing process for Drone Visions? 

It took me a long time. I have written extensively about the cyberpunk canon. I wanted to write about how the technological dystopias in these films merged and the way that these ideas have entered the mainstream. I was particularly interested in understanding how some ideas in these films became part of our techno cultural zeitgeist, the most relevant one of those ideas being the notion of the killing robot or artificial intelligence playing the role of executioner. 

KA: Do you think films and video games will continue to change future war technologies? 

Definitely. In ways that we cannot even fathom at this time. It’s clear that drone Technology was heavily influenced by video games and films. Now they are unavoidably linked and, as the nature of digital entertainment evolves, its military counterpart will do the same. 



KA: Do you think technology has created a cultural desensitization to violence? What is technology's role in desensitization? 

Yes, in general, I think that is true. Digital entertainment has made violence extremely appealing, interactive and fun. The abundance of cameras makes it possible for everything to be recorded and eventually broadcasted, the beautiful and the atrocious alike. Special effects and imaging technologies allow for the creation of almost anything imaginable. We have been over exposed to all sorts of violence, brutality and extreme practices in every domain. There are very few things that can shock us now for a prolonged period. Nevertheless, there is a constant search for new technological thrills, it’s part of our nature and the way we are wired. The military drone offers a very special paradigm, by showing scenes happening in real time on the other side of the world as if they were right in front of the viewer. At the same time, these scenes could be imagined as unreal, scenarios of a video game. The viewer can perceive these human beings as playthings to be eliminated in some perverse game. At the same time, drone pilots and operators, in a way, become intimate with the people they spy on, following them for days or weeks, becoming familiar with their world, their everyday lives and, eventually, may receive the order to blow them to pieces. So, in a way, we are becoming more desensitized to violence but also our relationship with what we see on the screen is complex and unpredictable. By turning human hunting into a regular, daily nine to five job, made possible by this peculiar way of telecommuting to war zones and to “suspect hunting grounds” in peace zones, we are creating an unprecedented dilemma. Killing by remote viewing and digital representations is without any doubt one of the most extreme and desensitizing activities we can perform. 




KA: What do you think are the most impactful changes on technologies caused by films and video games? 

Just as many aesthetic choices in films like 2001: A Space Odysseyinfluenced space programs, and design in a great number of areas. Blade Runner and the rest of the sci-fi films I’ve written about have been a major influence in the minds of programmers, engineers, artists and designers who have created most of the gadgets that are part of our lives today. Nobody really imagined 30 years ago that everyone was going to have a powerful portable computer and an amazing communication and entertainment device in their pocket, or that we would become inseparable to our gadgets. It would be hard to find specific movies or games that were responsible for those huge changes in the way we use and relate to technologies. Killing human beings with joysticks is still a morbid irony difficult to accept.

Advance word on Naief Yehya's Drone Visions:





More on the author:

Naief Yehya
Industrial engineer, journalist, writer, film critic and cultural critic, Naief Yehya's writings appear in La Jornada, Letras libres, Zocalo and Art Nexus, among others. He has published three novels, three short stories collections, and essay collections including: The Transformed Body. Cyborgs and our Technological Heritage in the Real World and Science Fiction, War and Propaganda. Mass Media and the Myth of War in the US,and, Pornography, Technoculture, The Intimate Space Transformed in Times of War and Peace and Pornculture. Yehya’s work deals mainly with the impact of technology, mass media, propaganda and pornography in culture and society. Yehya was born in Mexico City in 1963 and has lived in Brooklyn since 1992. 

Twitter: @nyehya
Facebook: https://www.facebook.com/naief.yehya

Kaylee Arca was the Marketing intern for Hyperbole Books, late 2019. Hyperbole is an 
imprint of San Diego State University Press.

Friday, March 27, 2020

SDSU Press is BACK IN BUSINESS!!! March 27, 2020

Tuesday, March 24, 2020

A Jay Ruby Critical Anthology -- Bohemia in Southern California -- from the SDSU Press

Introducing Jay Ruby's edited anthology, Bohemia in Southern California
David Ornelas
SDSU Press Editorial & Marketing Associate 


Are you a bohemian (or a student of the phenomena?). Do you dig bohemian culture, are you obsessed about California history, or a denizen of Southern and Northern California, or a devotee of cultural studies!? All of the above? Then SDSU Press's latest title is going to light your fire. 



Bohemia in Southern California, edited and with an essay by Jay Ruby, is a critical anthology (and photo album) that explores alternative life styles and artistic endeavors of Bohemians of all stripes in the Southland. Taken collectively, they suggest that when la vie bohéme arrived in the land of sunshine, a unique way of being unconventional was created. The classical Western bohemias of Paris, New York’s Greenwich Village, and the North Beach community of San Francisco were complemented by a rich flowering of individual and group experiments in creative living and the production of art. The fully illustrated book contains essays by scholars in literature, cultural studies, anthropology, librarianship, the book arts, history, psychoanalysis, the performing arts, and others that provide a uniquely multidisciplinary approach. 

This captivating and wide-ranging volume takes readers on a compelling tour, from the Arroyo Seco and Edendale communities, earlier in the twentieth century, to the beach communities of Malibu; from coffeehouse culture, surfer enclaves, and 1960s counterculture to the explosion of artistic and bohemian scenes several decades later in Venice, Laurel Canyon, downtown Los Angeles, and the Santa Barbara hillsides. 

Sunday, March 22, 2020

Our New Hyperbole Books Title DRONE VISIONS, by Naief Yehya, Now Available on Kindle



@SDSUPress is excited to announce that our instant cultural studies classic, DRONE VISIONS, by @nyehya, is NOW AVAILABLE as a digital download on Kindle! This is an experiment necessitated by the shutdown of SDSU owing to the Coronavirus crisis!

pacREV 2017, Edited by Hari Alluri, Now Available Via Kindle

Thursday, March 19, 2020

Sales Currently Closed -- SDSU Press

Sadly the SDSU Press is currently closed for sales due to the Coronavirus. We originally wanted to keep the Press open as we were receiving tons of orders for books but ultimately felt this would be the best decision. Just because the Press will be closed for sales doesn't mean the posts on here will stop. We promise to keep you up to date on our books as well as updates to when we will open the sales. It would mean a lot to keep supporting us by reading our posts and visiting the Press page. 

Love,
The SDSU Press

Wednesday, March 18, 2020

Presenting a Limited Edition SDSU Press Book, Laughing Matters: Conversations on Humor from Aldama and Stavans

Laughing Matters: Conversations on Humor (Special Limited-Edition Paperback) 

Do you dig humor, comedy, critical theory, literary criticism, philosophy, television, and mass media studies all wrapped up together? Then LAUGHING MATTERS by Latino scholar/writers/artists ILAN STAVANS and FREDERICK ALDAMA is the book for you!


Description  
In this kinetic tête-à-tête, Aldama and Stavans' conversation weaves effortlessly from the great thinkers on laughter to today's neurobiological insights to offer witty, wide-ranging, and incisive insights into our planet's great creations," says Peter McGraw, director of The Humor Research Lab. Laughing Matters explores the nature of laughter and humor, questioning and expounding on Western European and Latin American literary works that build humor into their pages. In a decidedly erudite manner they take us on a journey through philosophers such as Plato, Aristotle, Descartes, Kierkegaard, Nietzsche, and Bergson as well as literary geniuses such as Cervantes, Shakespeare, and Borges," affirms María Herrera-Sobek,

 
About the Author's 
Frederick Luis Aldama is Distinguished University Professor, Arts & Humanities Distinguished Professor of English, University Distinguished Scholar, and Alumni Distinguished Teacher at the Ohio State University. He is editor and coeditor of 8 academic press book series as well as editor of Latinographix, a trade-press series that publishes Latinx graphic fiction and nonfiction. He is creator of the first documentary on the history of Latinx superheroes in comics (Amazon Prime) and co-founder and director of SÕL-CON: Brown & Black Comix Expo.

 
llan Stavans has taught courses on a wide array of topics such as Spanglish, Jorge Luis Borges, Shakespeare in prison, modern American poetry, Latin music, Don Quixote, Gabriel García Márquez, Modernismo, popular culture in Hispanic America, world Jewish writers, the cultural history of the Spanish language, Pablo Neruda, the history of the Spanish language, Isaac Bashevis Singer, Sor Juana Inés de la Cruz, Yiddish literature, Jewish-Hispanic relations, cinema, Latin American art, and U.S.-Latino culture.



Book Reviews
"Two academics go into a bar. . . and create one of the most compelling works on laughter since Bergson. In this kinetic tête-à-tête, Aldama and Stavans' conversation weaves effortlessly from the great thinkers on laughter to today's neurobiological insights to offer witty, wide-ranging, and incisive insights into our planet's great creations."  

"Our authors scour the world of humor from stand-up Jewish comedians to classic writers such as Cervantes and Rabelais to those, like Freud and Bergson. The conversational format of this book allows its authors a freedom to range that would be impossible in a more conventional mode of discourse."




 

Thursday, March 05, 2020

Steven Bender brings you, How the West Was Juan: Reimagining the U.S. / Mexico Border -- SDSU Press

How the West Was Juan: Reimagining the U.S. / Mexico Border 


Description
How the West Was Juan creatively approaches the current political stalemate over restrictive v. compassionate border policy by imagining a different U.S.-Mexico border, one that returns to the early 1800s U.S.-Mexico border. Relocating the border serves the dual purpose of disconnecting the heated immigration debate from the current physical border, and allowing exploration of the physical and cultural space of the U.S. Southwest, where most U.S. Mexicans reside today as they always have.

A Pandora's box is opened in the hands of a master of law and cultural studies as well as history. Playful, yet historically and legally researched, How the West Was Juan demarcates a new territory for the physical, psychological, moral, and spiritual borders of our country, as well as deconstructing the inaccuracy of our traditional history books. Bender keeps us entertained with his kneading of geographical facts with history and current events, allowing us to envision different, possible borderlands, and throwing a scholarly wrench into the notion of border and belonging, as well as appropriated spaces.

About the Author 
Steven Bender is a national academic leader on immigration law and policy, as well as an expert in real estate law. Among his honors, the Minority Groups Section of the Association of American Law Schools presented him with the C. Clyde Ferguson, Jr., Award, a prestigious national award recognizing scholarly reputation, mentoring of junior faculty, and teaching excellence.

He joined the faculty from the University of Oregon in 2011 and served as Associate Dean for Research and Faculty Development from 2014-2017. He taught at UO for 20 years and served as the James and Ilene Hershner Professor of Law, Director of Portland Programs, Director of the Green Business Initiative, and Co-Director of the Law and Entrepreneurship Center.

Professor Bender is a prolific author of many law review articles, a casebook on real estate transactions, a national two-volume treatise on real estate financing, and several acclaimed books. His latest book, the co-edited "From Extraction to Emancipation: Reimagining Development,” was published in 2018 by Carolina Academic Press and the ABA Section of International Law.




Book Reviews
"In juxtaposing those intriguing "what ifs" with the current state of affairs, the book provides a deeper and more thoughtful lens through which to see U.S. - Mexico relations, including the long and rich interconnectedness between the two countries. The author urges convincingly that a better appreciation of these historical, political, social, cultural, economic and equity-based considerations might better guide policy makers toward more compassionate and more effective solutions to present and future challenges and opportunities near the border and beyond."

"Thought provoking, questions ideologies, and discusses the conquest of the west. How the West Was Juan shows the bedrock of our current national politics about immigration and culture wars. This book is definitely a must read for anyone who wants to truly understand the hidden history of the southwest."
 

Tuesday, March 03, 2020

3 Photos That Will Change The Way You Think About Dance: Snapshots from "Bodies Beyond Borders"


By Madison Cappuccio

From Bodies Beyond Borders: Dance on the U.S./Mexico Border


If you were asked to describe a dancer, what kind of person would you describe? Athletic? Graceful, perhaps? These descriptions are certainly valid but now is the time to challenge how we interpret dancing and it's impact on culture. In Bodies Beyond Borders: Dance on the U.S./Mexico Border, readers will ultimately examine the relationship between dance and language.


Pilar Medina. (Rocío Alejandra)
The stance depicted in this photo encapsulates expression and the body's ability to project symbolism. The shot is still, but our eyes follow the flow of her movement. She conveys beauty, strength, and power all in one swift raise.  Her body becomes a vessel as to how she communicates; she transcends the barrier of language. 


Dancers are storytellers. In the absence of words, crafted choreography is utilized to tell stories of life. Dancing depicts the innermost intricacies of the human body, mind, and spirit. 


Take a look at the facial expression of the dancer to the left-what do you see? More importantly, what does she make you feel? 




Ballet Cámara de la Frontera. (Arturo Casillas)
The synchronization of movement symbolizes solidarity. The five dancers become one as they deliver their theatrical performance. Through their shared passion, they achieve"...a means of cultural diffusion...a channel of communication and friendship."


Taller Coreográfico de la UABC. (Arturo Casillas)



Sequences of steps are employed to create a sense of surrealism. Dancers evoke emotion by use of motion to reflect reality. In some cases, dancers offer a temporary escape from reality.






These "promoters of culture" defy societal boundaries by expressing their identity through the performing arts. In Patricia Cardona's essay, "Something More Than Reptiles and Thistles" she describes dancers best: "They are like drops of water whose sound is still there, still in the spirits, still in the feelings of the inhabitants." Revolutionize the way you interpret dance by dancing  your way through Bodies Beyond Borders here.


Thursday, February 27, 2020

Psychoanalyze With SDSU Press’ "Psychoanalysis on the Couch" Series and Lectures by Ralph R Greenson

How To Psychoanalyze Your Friends At Parties
From The Teachings of Ralph R. Greenson
by Abigail Jones

Photo by Eric Nopanen on Unsplash
Ralph R. Greenson
With the right drive and passion, going to school and getting a degree in psychoanalysis is well within the realm of possibility for most people.

What if, however, you could learn psychoanalytic techniques for as little as $20.

With just one book from SDSU Press's series, Techniques and Practices on Psychoanalysis from the lectures of Ralph R. Greenson (edited by Harry Polkinhorn), you can pull out psychoanalytic techniques that you friends will totally love. Who doesn't want to have a free therapy session?

All the techniques used are from the publication Techniques and Practices of Psychoanalysis, 4 by Ralph R. Greenson and edited by Harry Polkinhorn.  

1. Make sure your 'patient' gives up her/his emotional defense-- Surely, when your friend asks you, "What should I do about [event]?", they are asking for you to psychoanalyze them. Greenson's first step in a successful session with a patient is to lower their defenses, and his plan for this is to make the patient uncomfortable and educated. This will make them ultimately more comfortable with you and make analysis more accurate. Imagine:

Friend: I had such a weird dream, it made me so uncomfortable. I'm glad it was just a dream. 

You, educated from reading Greenson's work: Well, this is probably a bad time to tell you that whatever you dream are the desires of your hidden unconscious. 


2. Be careful in debunking the 'patient's' analysis of their own lives-- Of course your friends knows themselves better than you know them. However, they didn't read SDSU's "Psychoanalysis on the Couch" series and you did (at least I hope you did). Greenson says to broach the debunking of incorrect analysis carefully. You must not lie to the patient, but you don't want to disrespect another analyst or the patient themselves. Here is an appropriate way to broach the subject:

Friend: I looked it up and my dream was telling me to take risks. I think I am going to start that new job! 

You, an analyst: No, definitely not. 

3. The Trial Period-- Greenson looks at trial analysis, and its failure in psychoanalysis today. The idea is to make the first period of analysis a trial period. The analyst will looked at the patients responses and their psychosis to try and see if they are a good candidate for analysis. With your friends, every minute you spend with them can be the trial period until you finally understand them. Greenson warns that most analysts don't agree with this anymore because patients are resistant. Here's how to avoid your friend realizing they are on trial.

Friend: You know, lately I've been feeling like you have been putting me through an analytical trial.

You: Whaaaat? Me? No. 

4. How to analyze your 'patient's' secrets-- Greenson looks a lot at how to combat resistance in his lectures. One form of resistance he looks at is a patient who doesn't want to reveal something but will acknowledge that they are leaving something out. Now, wouldn't you say that -- for the most part -- when your friends want to tell you something, you seem to know what they want to say. Analyzing a friend puts you in a unique position, as you might have more insight into their lives than an analyst would. However, Greenson says it's best to circle around the topic without making the patient have to tell the secret. Here is an example;

Friend: I want to tell you something, but I can't. 

You: Why not! I haven't been friends with you this whole time for you not to tell me things! I tell you everything! It's only fair. 

http://bit.ly/rgreenson (GET A COPY HERE)
Congratulations! You have finished your first class in psychoanalysis, and you would not be here without Greenson's lecture. Go forth and psychoanalyze your friends.

A friendly reminder, however, that nothing in life is free and that reading the Techniques and Practices of Psychoanalysis series from SDSU Press can help you on your way.

The series offers inside transcriptions of Greenson's lectures, and is a deep dive into techniques that a skilled analyst may use.

It also, obviously, is not a replacement for actually going to school for psychoanalysis, but Greensons diverse manuals do offer an intriguing read and a fun new skill to hone.

Edit: Looking back now, having psychoanalyzed my friends for fun--I can tell you that the techniques offered by Greenson are great, but maybe we should leave this one to the trained professionals.