Digital Culture Blog: Delicatessen (Foovie)

Blog Response: Delicatessen

In this day and age, digital culture is responsible for many social events and interactions. Upon attending this event, one could notice all of the people arriving in groups, as going to the movies with friends is a social phenomenon that has been spurred by advancement in technology. The event was called a “Foovie” where they combine dinner and a movie; a convenient way of bringing the often-paired experiences together into one place. (I personally chose to just watch the movie). In addition to the main event, there was live entertainment before the beginning of the screening, where a musician performed soft music on stage, giving the feeling that you were in a jazz club. The people putting on the movie most likely chose this jazz club approach because setting the mood in that sense was instrumental in how most the viewers would be primed to see the movie. So in this instance, a piece of material culture came in contact with affecting a piece of digital culture.

The genre of Delicatessen, directed by Jean-Pierre Jeunet and Marc Caro, is called a black comedy, where the humor presented throughout the movie is viewed as disturbing to most people because of its dark nature. The movie is set in a post-apocalyptic France, focusing on the tenants of an apartment building and their pursuit to make ends meat. The landlord of the apartment, Clapet, who appropriately runs a butcher shop, posts job opportunities in the local paper trying to attract potential tenants. After the mysterious disappearance of the previous tenant, who we later find out is butchered by Clapet and used a meat to be sold to the tenants, a circus clown by the name of Louison applies for the vacancy. It is at this point in the film where there is a twist in the plot, because after the Louison moves in, he becomes entwined in a secret love affair with the Clapet’s daughter, Julie. When Julie realizes that Louison faces imminent death, she goes to the sewers in seek of the underground vegetarian rebels, the Troglodistes, requesting their aid in stopping her father. The Troglodistes agree to help Julie, and upon their return to the apartment, just narrowly help Louison escape from the clutches of Clapet and the apartment tenants. In the mad rush of the escape scene, Clapet inadvertently kills himself with the weapon Louison was using to defend himself. The movie concludes with Julie and Louison listening to music on the roof of a now peaceful apartment.

A common re-occurring theme in most post-apocalyptic films and novels is the practice of cannibalism, as displayed by Clapet and the apartment tenants. Another theme, that I hadn’t mentioned earlier, is the replacement of currency with a commonly available household item. In this case it is grain. In other movies, like Fallout, they utilize bottle caps. A third theme found in this movie that is parallel to other post-apocalyptic movies is the depiction of a lone wanderer, who ultimately brings about good in the face of evil. In this case, Louison is the outside wanderer who thwarts the evil butcher and tenants of the apartment. In The Book of Eli, the main character Eli wanders the wasteland in search of a proper place to put one of the last remaining bibles. After coming to a town, run by the evil mayor, Carnegie, who wants to use the book to control people, he saves the life of one of the enslaved girls. A final theme presented in this movie that is common among post-apocalyptic digital culture are the do-good rebels that live in the sewers. In the movie Mad Max, the rebel forces are the last frontier between the evil bandits and the village people. It can be argued that these themes appear in the film because of antecedent digital cultural influences from movies like Road Warrior, Fallout, Mad Max, and The Book of Eli

The movie Delicatessen successfully presents the re-occurring motifs amongst popular post apocalyptic movies. And by doing so, it attracts groups of friends and family to a social gathering in which can later be shared amongst them as an experience of digital.

Material Culture: Soiree for Music Lovers

On October 23, I attended the Soiree for Music Lovers, which was free if you had a student ID. It was held in the Conrad Prebys Concert Hall, located in the Warren Music Center across the street from Pepper Canyon Hall, at 8:00 PM. The concert was directed by Janos Negyesy and was a great way to relax and enjoy some classical music. I have some musical background, so it was nice to attend this concert since I hadn’t heard any classical music in a while.

There was a variety of instruments that were played at this concert, not all of which would be heard at Western classical concerts. For example, the last piece of the night, Concerto for Sitar and Ensemble, featured a sitar, which is an instrument used predominantly in Hindustani classical music--not something that would be associated with European composers like Mozart or Brahms. Nonetheless, the music was entertaining. The sitar can have between 21 to 23 strings, of which only six or seven are actually played. The rest of the strings are called sympathetic strings, and lie underneath the frets, giving the sitar its resonance. To play the sitar, the instrument is balanced between the player’s left foot and right knee (while sitting cross-legged), so that the hands can move freely. One hand pluck the strings with a pick, and the other hand fingering the strings, somewhat like a guitar.

The rest of the instruments used are much more common (in American culture): the violin, viola, cello, string bass, and piano. Violins, violas, cellos, and string basses all have 4 strings, and are played either with a bow or by the player plucking the strings. The first piece, called Concerto for four violins in D Major, No.2, composed by Georg Philipp Telemann, was quite enjoyable. The quartet of violinists all played energetically, and it was fun to listen to. The third piece was the String Sextet No.2 in G Major, Op.36 by Johannes Brahms. The sextet consisted of two violins, two violas, and two cellos. In this piece, the plucking of the strings, called pizzicato, was used often. Also used in this concert were pianos, arguably the most popular instrument. The second piece in the concert, the Sonata for two pianos in D Major, KV 448, by Mozart, was a duet between two pianos, which were set up facing each other on the stage. The pianos they used were grand pianos, a standard for classical music. In the sitar piece, however, an electric keyboard was used. It was very interesting to see that classical music could fuse with modern technology.

Overall, I’m glad I went to the concert. The instrumentalists were all brilliant, and the concert being free was, of course, a plus. I believe that having a little bit of musical background helped me appreciate it better than others who have none at all. Although classical music is considered something of the past by many people, the last piece, written by a modern composer, played on the sitar, and accompanied by an electric keyboard, definitely would not have happened in the “classical music” that most people would think of. However, this makes me realize that music is timeless, and it will always be a part of our culture.

Viewers Choice Screening: alt.pictureshows

Viewers Choice Screening: alt.pictureshows

The Viewers Choice Screening: alt.pictureshows was a special screening held on October 12, 2010 at the Museum of Contemporary Art, San Diego, which showcased the audience’s favorite short films of this year. Several short films were presented during this two hour-long screening. Of the various short films, the most memorable short film for me was “Kavi”, a short film shot by Gregg Helvey for his master’s thesis film at USC to portray that slavery still exists even now in today’s world.

The story, set in Maharashtra, India, begins with a young boy, Kavi, working at a brick kiln with his parents to pay off the debt, 10,000 rupees, his father owns to Sumrat, the kiln owner. Kavi dreams of going to school and playing cricket like the boys he sees passing by instead of working at the brick kiln and playing with an imaginary farm with his plant. The turning point of the short film occurs when Kavi, being punished by Sumrat, discovers two reporters hidden behind the bushes asking a slave questions about the brick kiln. Kavi, intrigued by the food he would receive in exchange for giving the reporters, Arvind and Vishal, information, goes towards them, gives them his name, and runs away with a bottle of soda. However, the guard discovers Kavi with the soda and reports this to Sumrat, who punishes Kavi again. After this event, Kavi no longer plays with his farm, which symbolizes Kavi’s innocence as he believes the farm really exists, showing that Kavi has come to a realization and his change. Kavi becomes rebellious and is being chained to the wall by Sumrat as a punishment. When reports that people are coming to free the slaves, Sumrat sends all of his slaves away except for Kavi as he is still chained in his room. The people that came are none other than Arvind and Vishal, whom Kavi met previously. The two demands Sumrat to free his slaves, but after finding the brick kiln to be empty, they no longer can do anything about Sumrat. Kavi, in Sumrat’s room, overhears the whole conversation and tries desperately to escape out of his handcuffs. He succeeds in escaping with bloody wrists and runs to the two to confirm that there was a slavery camp and that Sumrat held them there to repay their debt. As Kavi leaves the brick kiln, he steps on the wet brick laid out to dry, leaving his footprint, which symbolizes Kavi’s first step to freedom from making bricks.

Another short film that caught my attention was “Vomit Pig/Lustful Fistful”, a film without any narration except the music in the background playing. This film depicts an emotionless girl smoking and drinking while the camera adds many effects to emphasize her loss of self. The effects almost overpower the girl in the film with its music, the color changes to portray the distortion of the girl after she drinks and her loss of control on her life. Her lack of voice in this short film represents how the girl has lost her own voice in life, metaphorically; she is no longer able to make her own decisions or she has lost her drive. She simply smokes and drinks to fulfill her pitiful life. The title, named “Vomit Pig/ Lustful Fistful” shows how eccentric the film is: the girl may experience all these different emotions, but she can no longer do anything to change as she is stuck in this lifestyle.

Helvey, through his lens, exposes the issue of slavery to the viewer. Without the technological advances we have made in cinematography, Helvey would not have had the chance to shoot this short film. These advances have led to a broader range of information presented to the people, but nevertheless negative effects of these changes are also present as further advances in this technological era are made that focus more on the technology itself rather than the people they are suppose to assist. Therefore, people lose more of themselves at times when the technology becomes overbearing, as shown in “Vomit Pig/Lustful Fistful”, where the girl loses her self to the effects within the film. Overall, this Viewers Choice Screening: alt.pictureshows was very interesting even though it was not what I had expected the screening to be like.

Deep Water Horizon: The Fallen Humanity

It was the first day of October, as a person who had never been to any art exhibits, I went inside an ordinary looking building that when one walk pass it they would not think twice about what is inside. As I stepped inside, I found myself in a different world, looking at eight giant canvases forming a circle hanging down from the ceiling. Each of them has some writing in black bold letters on the back. As I walk towards the center, I was overwhelmed by the paintings. The painting seems abandoned at first sight and they all seem to be screaming at me, trying to tell me something; but at the same time it was silent except for the low voices of people complimenting, discussing, and explaining about the giant paintings before them.

Hans Weigand, the artist responsible for the eight giant canvases, chose to cover the canvases with a layer of paint to set the time of the day. Next, he uses the pictures of different coastlines throughout California and Hawaii as the next layer to present the setting. Finally, he covers the painting with a last layer of dark liquids.

Each of these paintings contains a “lone surfer” representing the last man on Earth, symbolizing the end of humanities with just that one person who survived. The old, rundown buildings and broken RVs further portraits how the time of technologies had passed and that the only thriving things were things of nature. Also, some of the canvases have pictures of apes and bridges and a trailer truck; which suggests that even though the canvases are separated, they are connected because of the similarities within the painting.

Just as nature gave humans everything they needed to survive and evolve at their own different rates, as Weigand’s paintings showed, everything was eventually given back to nature as it once was. However, it’s not all hopeless, for there is a “lone surfer” left in the world with bits and pieces of technologies here and there to rebuild society.

Digital Pollution

What is Digital Culture? Is it a reflection of a mental evolution? Perhaps a “pervasive technology” as Chris Pirillo puts it. Or is it simply an extension of our society’s capacity to expand? However you interpret it, Digital Culture is a compelling art form to dive into. 

To Hans Weigand, a prolific Austrian artist, digital culture is a “data tsunami” or an overwhelming influx of detrimental technology and information. In Weigand’s collage of contemporary popular culture titled “Deep Water Horizon,” he exemplifies his unique opinion of digital culture and the effects it has on our society.

This elaborate double-sided collage staged at University Art Gallery from October 1 to the 27 of November in Muir College is an intriguing experience to say the least. I was personally dumbfounded at the sight of such a piece and lost for words at interpretation. This piece of art will ultimately challenge you to come up with your own perspective of what Weigands is communicating about digital culture because of the bizarre architectural and environmental details placed in the collage. Weigands puts together an assortment of abstract images of day and night atmospheres from digital photographs at various locations on the undistinguishable coastlines of California and Hawaii on each of six different backdrops. Each backdrop contains what appear to be arbitrary contemporary images such as the statue of liberty, a half broken bridge, Roman statues of cavalry, a dilapidated trailer car, and bizarre photographs of apes and baboons from the San Diego Zoo. Although focusing closely on the significance of those contemporary images, you realize they are accentuated meaningfully to show how new popular culture has catastrophically and nearly wiped away all that our human culture once was defined by.

Weigand’s array of images blasts my mind into a world of curious and pensive thought. I was most intrigued by the appearance of the silver surfer, a marvel comic’s hero, shown in complete isolation on one of the backdrops, so to say that he is the last sample of culture left from the contemporary media storm. Without hesitation, I strongly advise all to go witness Hans Weigand's display of digital culture.

-David Guinasso

Deep Water Horizons

The plain white of the gallery emitted a feeling of sterility and an unnerving stillness, while the hanging canvases, floating in midair, only served to add to the surrealism I feel as I entered the room. I found myself enthralled by the stark simplicity of the exhibition before me; the research that I had done beforehand and the expectations it provided definitely did not mesh with what I found in the University Art Gallery this afternoon. The white noise of the room, free of clutter or complication to random passerby, gave a sense of the quiet before the storm. The simplistic black on white of the outward facing canvases made it seem as if the artist’s world would be portrayed cleanly and straightforwardly, but as I walked around the circle trying to piece together what the letters said, I found that everything was broken and unreadable; there were only fragments of words and letters. This was the first sign that things were now what they appeared to be.

This solo exhibition, entitled “Deep Water Horizons” by Hans Weigand is currently on display at the University Art Gallery in UC San Diego. Weigand presents his documentation of local scenery and landscapes come crashing together with the digital media of contemporary pop culture. Walking into the octagon of hanging paintings, the audience is immediately thrust into a chaotic dystopia sharply in contrast to the unnerving calm of the outside canvas. The eight paintings each showcase, in panoramic form, coastal scenes in various states of destruction and disarray as nature comes into contact with digitally imposed images of manmade technology.

A sense of unease pervaded from these images, but it seemed not to come about from what seemed to be, on the surface, the destruction of nature by man, as is usually the case in modern issues, but rather the downfall of human society alongside with nature. One paintings that stood out to me featured the Pantheon and other pieces reminiscent of the Roman empire next to the Statue of Liberty as both crumbled into a crashing wave as a gorilla stood almost smugly in the foreground. Two of the strongest empires of their times are shown as completely overtaken by nature both symbolically and literally: the landmarks are unnatural in their graphic interpretation, looking pasted onto the artist’s brushstrokes and being taken over by harsh streaks of paint while what they symbolize is the imminent fall of those in great power and human society as a whole. The theme of not belonging and the unnatural placement of two completely opposing subjects was recurring not just in this pollution of manmade architecture in nature but also in the animals and people in habitats that are not their own. Weigand references two outlandish pieces of pop culture--two characters that were thrust into places were they were seen as strange and dangerous. King Kong and the Silver Surfer are highly influential in the artist’s work and expose the theme of isolation through their role as the last living beings in a dystopian world.

Weigand’s work is described as a “data tsunami” of digitized images and paint in three layers. The first uses paint as the main medium, playing with different light parameters in day or night atmospheres with thick, streaking brushstrokes. It seems to have a more nostalgic feel of times before digital media became the main medium of modern artists, as Weigand shows in his second layer featuring the data and pop culture of carefully measured seascapes, architecture, and environmental subjects over the paint. Finally, the artist throws in his third and last layer as the “revenge of paint” on the digitized media that is featured not only in his work but also in modern life. The dark colors and smears of paint are prominent and taking back the focus from the unnatural sterility of the digital pieces.

Walking out of the circle of canvases, I was again faced with the canvas of “welcoming” phrases, broken and painted in their plain, old-timey font against their deceptively simple background. The feeling of uneasiness lingered, evidence of Weigand’s power of expression through a simple combination of pieces, no words needed. Other gallery visitors wandered through, and the exhibition’s “tsunami of data” left its final impression on me as I stood on the outside looking in; from a distance, the people inside the circle appeared caught inside the eye of the digitized storm, the images around them showing the catastrophe of the hurricane around them while the white canvas enclosed around the last survivors of human society.

Soiree for Music Lovers

In this performance Janos Negyesy, on the violin, and other musicians played impressive compositions ranging from Mozart, to a sitar concerto by Kartik Seshadri. They played a wide assortment of instruments that I found very impressive because they were able to fuse them together to make such an enjoyable melody. The sharp sounds of string instruments, with the mellow sound of an electric piano, and the droning sitar leading the composition.

The instruments came from various cultural backgrounds, with the main star of the attraction being the sitar. The sitar was developed in northern India around the 13^th century A.D. and is a very interesting instrument because it can have upwards of 23 strings, but only 6 or 7 are actually “playable.” The rest of the strings are responsible for that signature “droning” sound of the sitar and are tuned as required by the musical piece.

The string instruments, like the violins, cellos, violas, and contrabass, on the other hand only have 4 strings and are usually played with a bow, or plucked by the musician. With these different techniques of playing, the musician can in a sense change the “mood” of the piece by mellowing it out, or by adding built up suspense as the end of the song nears.

It was very interesting to see how they used grand pianos for Mozart’s Sonata and an electric piano for the sitar compilation. It added to the “old meets new” seeing such an ancient instrument as the sitar, to the classical violins and piano, and the very modern electric piano all playing together.

Being able to experience such a blend of different music backgrounds all coming together to produce something that is engraved so deeply into our being was incredible. Although humans come from different ends of the earth, and have such various geographic and cultural differences, it is really quite fascinating that we all have such strong ties to our music and the messages and feelings that it portrays. In a way it brings us together, regardless of race or background and lets us express ourselves for who we are. Music seems to strike a chord in what makes us truly human.

Material Culture: Soirée for Music Lovers

On October 23, many refined musicians came to play at the UCSD Conrad Prebys Music Center Concert Hall to perform various form of musical style to the audience. Directed by János Négyesy, this musical concert was a great way to relax and enjoy all the different sorts of musical styles including Baroque, Classical, Romantic, and Contemporary. I firmly believe that this can be enjoyed by people with or without musical backgrounds at all, if one has enough patience.

Playing the piano since the age of eight, I enjoyed the concert. Each selection came from a different period of musical history. It is often a misconception for people to call the “old” music all classical. Each style is represented in a piece that was performed and it was truly satisfying for me to listen.

Each music displayed typical forms and motifs of each period. For example, the Concerto for four violins in D Major, No. 2 was a baroque piece clearly in canon form. Its contrapuntal form was very intriguing to listen. As I played in a high school band, separate parts for an instrument was only used to create harmonies and often times the only interesting part was the first part of each instrument. However, this piece treated each of the four violins as four separate voices and it was enjoyable to see them imitate motifs or figure lines. Each instrumentalist played the piece with great vigor.

The second piece was called Sonata for two pianos in D Major, KV 448. It was composed by the infamous Mozart, who composed many pieces that had similar styles. The piece was written for two pianos and four hands. Thus, it is a duet. This particular piece showed many of Mozart’s tendencies of music. Whereas the baroque period had a characteristic of using many “voices” (polyphonic), the classical largely used bar chords. Towards the end Mozart skillfully uses imperfect cadences (when the song seems to end, but then it changes to extend it longer) that intrigued the color of the notes. It

The next piece showcased a Romantic piece called the String Sextet No. 2 in G Major, Op. 36. It features a more lyrical style, which was very typical in the Romantic Period. One particular feature that people with not much musical background will have witnessed is the use of Pizzicato. This is a feature which any string instrument players their instrument with their hands and using a plucking motion.

The final performance was very unique. The piece was called Concerto for Sitar and Ensemble in 3 movements. I had never heard of a Sitar before; however, when I heard the sound, it was familiar. As a contemporary piece, it was mind provoking to hear irregular key signatures (beats in music) like 5/8, or 7/8. However, I must say that the style of the music sounded like a little bit watered down version of music composed by Yanni, who composed similar music on a greater scale. However, the instrument was great to listen to nonetheless. The bending of the pitch and the improvisation of the harmonic and chromatic scale, gave me a new taste of music.

To conclude, this performance was phenomenal to me, for I was never given the opportunity to listen to music at a concert. As a piano player, I fell in love with the sound of the different types of music. However, it does not need to be limited to musical knowledgeable people. I believe that too many people are drunk to listen to popular music that repeats chords in a pattern that goes on forever. Although, I do not entirely despise popular music and agree that it has its own place in society; it is unfortunate that people are not willingly to listen to the “classical” music. The music in the past has many colors that we fail or now lost the patience to listen over the years. Music is not revolutionary, where the past things are forgotten. We have to keep listening to all kinds to appreciate what human culture has created over the years.

“House” Blog – War Within

Nobuhiko Obayashi, the director of “House,” deposits different hints of cultural and technological advances that serve to reflect the Japanese life within the horror flick. As one can tell, the devices used to create this 1977 film were obviously rudimentary—the “fake” backdrop, the awkward levitation of objects, and the comic movements—as compared to the technology utilized to produce present-day film. The types of materials used within “House” exhibits how Japanese culture in that time period is established. For example, the Japanese didn’t have the technological ability to capture scenes of wilderness or scenery as one could have seen the juxtaposition of disproportionate objects; furthermore, it was difficult to understand how the Japanese could have allowed the suspension of different items without the use of more advanced devices. The use of trains was also of prevalent use during the 1970s, as opposed to planes and cars in present day. The 1977 film emphasizes how in comparison with 2010 life, the technology utilized are so similar yet so “basic.”

Similarly, the cultural aspects within the movie shouldn’t be underrepresented. Besides horror, the film mainly encompassed ideas of teamwork, love, and war; especially war. One subtopic of the flick included the story of how the aunt’s husband got drafted into war (World War II) and that her love for him has led her to wait for his return. The basis of this history has much relevance to Japanese culture, in the sense that war breaks physical relationships. After all, the movie was produced in the 70’s and World War II was initiated in the 40’s, emphasizing the small amount of time between the two occurrences. Interestingly, the event for when the father of Gorgeous (protagonist) comes back from his trip to Italy, his relationship with his daughter breaks as he brings home another woman. This scene parallels the shattering of relationships between families in World War II. It stresses how even thirty years after the war, Japanese people were forced to pick up the pieces of the unfortunate memories. Even in the conclusion of the movie, one of the last statements that was uttered included, “What never perishes…the question…is love” (Obayashi), emphasizing that even though relationships were lost, love continues to exist. Gorgeous’s aunt is the symbol of undiminishing love, eating Gorgeous and her six friends to possess everlasting youth, even though it was presented in a “twisted” way.

On the other hand, there were also many scenes of female nudity that were spread throughout the movie. The inclusion of such ideas emphasizes how Japanese culture included the celebration of the female body; there were many instances for when many of the girls, such as Sweet and Melody, would strip out of their clothing whenever the house would bring misfortune. There were many scenes that included the interaction among the girls in the movie, including the event in which Fantasy laid upon Gorgeous and called her “mother”, portraying the different bonds between women that can be established. Besides the contents of the movie, one can tell that ideas of sexuality were already spread throughout the eras, including the existence of geishas in Japanese culture.

Digital Oil Spill

Three of the paintings at the UAG Deep Water Horizon solo exhibition

The Deep Water Horizon event at UCSD is a solo exhibition taking place in the University Art Gallery, in between Muir and Revelle college. The artist, Hans Weigand, creates art through the juxtaposition of various images on a backdrop and then going over the entire thing with paint. He also includes cryptic prints and partial prints of letters on separate canvases attached to the back of each painting. So far, no one knows what they mean besides Weigand. I challenge you to try and figure them out.

Weigand’s work brings forth an important question in the advent of the modern, digital era. The biological and technological evolution of Homo sapiens sapiens has reached a point where we are questioning our own progress. We wonder whether or not we are on the right course, and there are many among us that truly believe we are not. For if we were, for example, congress would not be constantly debating new laws; they would simply say, “stay the course,” and sit back. We are, in a sense, questioning our own evolution, and by extension, our survivability generated by our technology.

Weigand's exhibition, named “Deep Water Horizon,” does not refer to the BP Oil Spill that we are all familiar with. It refers to the “data tsunami” that has come upon us in the modern era, the flood of new technology, new information, and new problems. Our very progress, such as wireless data transmission and modern weaponry, decreases the survivability of others of our species. Prior to contemporary times, Cyber Stalking was not an issue and nor was hacking or identity theft. The issues of our past such as medical inadequacy or self-propagating irrational beliefs have been largely reduced in magnitude. Physical, external, causes of death have been dealt with. Now however, things like long distance relationships or Cyber Bullying or Identity Theft make us kill ourselves. Have we simply traded one evil for another? The technology even changes us. Our brains are rewired, new illnesses arise that weren’t even major problems before, like nearsightedness or Deep Vein Thrombosis.

So the question arises, are we on the right course? And if we are, are we proceeding along the path correctly?
~Neri Wong

More information: http://universityartgallery.ucsd.edu/exhibitions/hanswiegand.shtml

Intersections of culture and technology at UCSD

The University of California is an interesting place. There are so many opportunities here to explore technological issues, take part in breakthrough research, and learn about pressing social concerns. However, the humanities and the sciences remain historically distant. The chasm between these "two cultures" holds true at many institutions, including UCSD.

I do not mean to imply that the chasm between science and humanity cannot be crossed. In fact, many scholars, including the late Stephen J Gould, believed that this chasm is only an illusion. Science acts as a powerful cultural force. It shapes our world and can alter the future of humanity in a second of brilliant light and the release of atomic energy. How we use this energy is our own choice and those choices are shaped by our collective histories. Further, scientists exist within cultural context. Politics and everyday life shape the technologies around us as much our technologies shape us. Culture, art, and technology are inseparable. Culture, art, and technology are also elusive and difficult topics to traverse.

This blog is an attempt to bridge this chasm (or dispel its illusion, depending on your viewpoint). Some of the students of Sixth College at the University of California, San Diego have been kind enough to make events about these issues available to anybody who is interested. As I said, our university is an interesting place and there are many programs here that explore the intersection of culture and technology. The subject is difficult and writing about it is necessarily difficult because of this. However, the quandary only makes the subject more worthy. Challenging questions deserve more than soundbytes and bullet points; they deserve thoughtful answers.

I hope you enjoy their work. I certainly have thus far and look forward to enjoying it in the future. They have worked hard to make culture, art, and technology (CAT) events at UCSD available to those on and off campus. Thank you for visiting.

Rodolfo John Alaniz
Teaching Assistant, Sixth College
University of California, San Diego