30/10/13 - Eng105 - Critical Analysis of “The case for Torture”

In the article “The Case for Torture”, Michael Levin discusses how torture should be “morally mandatory” (1) when innocent human life is in danger and there is clear guilt. This text failed at being persuasive in every point of view. A large part of his argument is referencing admittedly unrealistic ‘what if’ scenarios rather than real world examples, there is little evidence presented outside of his own flawed logic and reasoning, and his complete dismissal of any potential counter-arguments towards his topic.

Over a third of the text in question is hypothetical scenarios in which terrorists take innocent life into their own hands, all of which have incredibly questionable validity. These feel like they were offered for no reason other than to induce emotion and possibly even alarm in the reader. One references a single terrorist hiding an atomic bomb in Manhattan only to be caught two hours before it is supposed to detonate, offering an ethical dilemma: should the criminal receive their right to counsel when there is a risk of detonation, or should that be stripped from them in favour of “subjecting them to the most excruciating pain” (2) until they give their torturers the information that they’re asking for? This, of course, assumes that the initially given option of simply giving the terrorist what they demanded in the first place isn’t at all reasonable once the terrorist is in custody. Levin admits within two paragraphs that this isn’t realistic at all, negating the validity of his example. He follows this admission with another wildly inconclusive example of a terrorist planting a bomb on a plane, assuming that a specialist in torture will just happen to be available and on said plane to neutralize the threat and wring the location of yet another imaginary bomb from him. The third example is nothing more than a complete farce of a scenario: a terrorist organization kidnapping a newborn baby, never mind the reasoning of why. Whose baby is it? Why are they taking it? The writer offered this example simply so that he could present the findings of his informally asking four mothers whether or not they would endorse the torture of kidnappers to get their newborns back. None of these examples hold any real merit in his topic and only distracted the reader.

Conveniently, this mentioned informal poll of his, no matter how flawed in its execution, is the only outside evidence given to support the entire essay. Everything else provided is the author’s own reasoning and logic from one point of view, with no credentials given to explain why his opinion should have any merit in the first place. Everything he mentions feels twisted and forced to support his opinion, or simply already is just that: an opinion. There are no direct references to exactly why torture is considered unconstitutional, only an indirect mention given only so that he can state that lives outweigh the constitution. No support is given as to why, possibly assuming that people will simply agree with this and move on. The same mention and dismiss tactic is used to hand wave away the claim of torture being barbaric. This paragraph ends with accusation of moral cowardice, an extreme version of the simple question “Why wouldn’t you do it?” He does later manages to offer a somewhat sound suggestion, arguing that terrorists have consciously revoked their rights while their victims have not. Had he focused more on this idea and backed it up with actual evidence, there may have been some validity in his argument. Levin speaks with authority, however none of the claims have any support that holds any merit.

When he addresses the other side, Levin doesn’t take any time to properly rebut them, simply dismissing them and moving on. He only minimally references counter arguments to his thesis in the first place, and every time it is to take advantage of it and offer more twisted logic and reason. In the statement “Torturing the terrorist is unconstitutional? Probably.” (3), he addresses the other side and even dismisses that he agrees with it in the first place, following it up with the suggestion that constitutionality shouldn’t matter in these cases. “But millions of lives surely outweigh constitutionality.” (3) He focuses on his argument and his argument only, weakening it significantly.

This could have been a great essay given actual research and acknowledgement of things other than his own train of thought. While the article argues for a very real moral issue, it is presented with unrealistic and fear mongering examples of terrorism, without any support from credible sources, and with complete dismissal to any view that isn’t that of the paper.

Answer the following questions in clearly written sentences, as a paragraph or series of paragraphs:

  • What is the author’s thesis/main idea?
  • How is the argument structured: what points are made to support thesis and in what order?
  • How does the author support her opinion? What kind of evidence does she use?
  • What conclusion does the article draw?
  • Thesis: Theatre is dead.
  • Argument: Very cyclical, propaganda-like statements that don’t actually say anything at all. The conclusions are decided and then minimal evidence is twisted to support them.
  • No evidence. There’s just opinions mounted onto more opinions, supported by things that happened without mentioning the things that happened afterwards.

In the article “There is No Revolution, Televised or Otherwise”, Kristine Nutting argues that Theatre is dead, and that there is no room for post-revolution, or revolution at all, when it will be turned against the Theatre to kill it even more. Nutting expresses her opinion in this article with strong words and voice, leaving no room left for argument.

Theatre is dead, leaving behind no reason to revolutionize it. This is ideal for the industry, as “death is even more beautifully marketable than revolution because it can be modelled [sic] and posed” (86:2) for magazines. Gil Scott Heron is referenced, though the words being responded to aren’t quoted. It is stated that he is wrong and that the revolution wasn’t kept off of television, it simply never happened. People are too afraid to talk about ideas and the arts are dwindling and watered down. Nothing great moves on because mediocrity is what is rewarded. The shallow, forgettable empathy raised in simpler, safer plays is mocked and Nutting states that Theatre should be allowed to “die with the symptoms of late capitalism” (87:3) and “die with its white, upper middle-class audience–all over the age of 55.” (87:3) Anything that attempts to be more than safe is deemed offensive and having no worth. It calls the theatre out on producing play after play about “a white family and their dismal lives” (87:5). Theatre has become nothing more that “Art with a capital A, pretty art that means nothing” (87:5), and is something that nobody but the actors themselves enjoy for any reason deeper than how pretty everything was.

Nutting calls out our culture on reducing us to voyeurs at a peepshow, which is the only thing that is honest anymore. The article has several images and brief information from “Pig: A Peepshow of Forbidden Acts from the Farm” in sidebars.

The text is very cyclical but it always moves back to the primary conclusion of the article: Theatre is dead.

Thea101 - 30/10/13

Page-to-Stage Essay

1500.

Identifies idea or theme. (Half the essay.)

Meet before Nov 18th.

Consider everything, but you don’t need to write everything.

Draft Nov 20th.

Final Nov 27th.

Thea121 - 29/10/13
  1. Exam: Saturday Dec 14th from 9-12.
  2. Write technical review on a professional show: Costumes, makeup, props, set, lighting, sound.
Thea121 - 29/10/13

Actsafe

  • Actsafe represents two different sectors: theatre and television
  • Training courses
  • Workshops and seminars
  • Website
  • Documentation
  • Onsite testing and advice
  • Newsletter
  • Two standing committees: performing arts and motion pictures
  • Funded by but not part of worksafe bc

Etc

  1. Know the relevant health and safety legislation (website)
  2. Describe the functions of health and safety programs
  3. Identify responsibilities

Safety things > Safety programs > Safety management systems

Workers have three basic rights:

  1. Right to know about hazards etc
  2. Right to participate (personal protective equip)
  1. Right to refuse unsafe work

Websites

http://www.worksafebc.com
> Regulations > Rights and Responsibilities
> Regulations > Personal Protective Equipment
> Forms

http://www.actsafe.ca
> Membership
> Courses & Certifications > Workplace Hazardous Material Information System
> Bulletins > Performing Arts
> Library
> Resources > Risk Assessments

Performing Arts Industry Other Safety Resources

  • Primers: Performing Arts, Working at Heights, Dancer and Muscular/Skeletal Injuries, Musicians and Muscular/Skeletal Injuries
  • Actsafe safety bulletins for performing arts
  • Actsafe risk assessment and factsheets
  • New and young workers orientation

Commitment to Safety

  • Senior management
  • Supervisors
  • All employees

Worker’s Responsibilities

  • Know the rules and procedures
  • Know your responsibilities
  • Work safely
  • Take part in training
  • Use correct protective equipment
  • Know about impairment
  • Report personal injuries
  • Correct or report all hazards

Hazard Assessment/Control

  • Eliminate the hazard
  • Substitute
  • Use an engineered control
  • Use an administrative control
  • Use personal protective equipment

Protective equipment may be the only practicable answer.
Know what equipment is required and how to use it correctly.

Health and Safety Program

  • Safety committees
  • Safety inspections
  • Training and safety information
  • Testing and monitoring

Procedures

  • Safe work procedures (e.g. working alone, traffic safety, needle disposal, ladder use)

Education and Training

  • Requirement at all levels
  • Specfic training is required by law for some work
  • Very important part of the health and safety program
  • Training tracked through actsafe safety passport system

How Safety Issues Are Addressed

  • Communication
  • Safety committees

Work Refusal

  • If a worker refuses to carry out work that he/she believes is hazardous, they must immediately INFORM their supervisor or employer
  • A supervisor/employer must investigate the matter to ensure any unsafe condition is corrected without delay
  • Next step involve safety committee and union rep
  • Actsafe may be involved to help provide guidance
  • May involve a WorkSafeBC officer to resolve issue
  • Cannot discriminate against the worker refusing the unsafe work

Thea101 - 28/10/13
  • http://ufv.ca/library/
  • Use the main search box.
  • Books and Video tab
  • Might not come up right at the top.
  • Course reserves tab
  • Course number or prof’s last name
  • Journals tab
  • ONLY SEARCHES TITLES
  • Reference tab
  • Much more reliable
  • Libguides tab
  • Select theatre
  1. http://libguides.ufv.ca/cat.php?cid=13402
  2. Dive into the tabs again
  3. Background tab, oxford search bar
  4. Course help tab
  5. Thea101
  6. http://libguides.ufv.ca/content.php?pid=109694&sid=3216601
  • Journals:
  • Specific topics
  • Assume you already know what you’re talking about
  • Books: 
  • Broader
  • Explain more
  1. Reference: Can’t take out
  2. Stacks: Can take out
  • Catalog record
  1. http://libguides.ufv.ca/Theatre

pulpofiction:

writing a kiss, tips for everybody

  1. whatever the hell you’re doing with tongue, stop
  2. invade, fight for dominance, and wrestle are literally the worst descriptors ever in the whole entire world of talking about kissing
  3. tongues do not roam and they do not go exploring they are like TIDES they come forward a little bit and then maybe recede a little bit EVEN IN FRENCHING
  4. most kissing action actually happens with the lips GO FIGURE??
  5. kissing is really awkward you get noses bumping everywhere and sometimes saliva all over your chin or theirs, please keep this in mind, only the chastest kisses are clean and neat
  6. really aggressive tongue is really an acquired taste not gonna lie (L O L)
  7. Avoid scientific clinical words like probe for the love of god
  8. you’ve ever listened to a kiss you know it sounds really gross with all the sucking and smacking breathy moans and hums are the way to go
  9. No one pays enough attention to the lips imho y’all are so damn focused on tongues
Summary of “American Space, Chinese Place”

In the article “American Space, Chinese Place”, Yi-Fu Tuan compares the ideals between American and Chinese homes and contrasts the American drive to hope for a better future with the Chinese drive to stay in one place.

the concept of home in American culture versus Chinese.

His essay encompasses the symbolism of space, or the area around ones home, and place, which is the immediate area that actually is ones home. 

His essay contrasts the strong ideals of Chinese “place” and “rootedness” with the American “space” and “wanderlust.”

The American “space” has perspective and views to the outside, reflecting their desire to look to the future.

The Chinese “place” is centered on what is inside its walls, displaying the dedication to one place and maintaining their current livelihood.

rooting them in one place.

Tuan implies that both “rootlessness” and “rootedness” have traits that can be admired and criticized, and that one or the other is often forgotten.

He also states that “space symbolizes hope; place, achievement and stability.”

Thea101 - 23/10/13

Design Elements: 

Costume:

  • Character: time place status
  • concept
  • cut
  • drape
  • silhouette
  • pattern
  • texture
  • hair and wigs
  • makeup
  • millinery
  • prostumes
  • effects
  • quick changes
  • puppets/masks

SCENE, LIGHTING, SOUND, COSTUME

nevermore: dark mood and atmosphere, gothic costuming, low lighting, music, costume silhouette, dramatized costume, solo singing, limited colour palette, strange material/texture, wigs, makeup, masking, scrim, 

gandhi: live music, opera, chorus, puppetry, MASSIVE PUPPETS, manipulation of objects, common objects, relating to poverty, inspired by gandhi, nonlinear, larger scale, larger cast, texture and colour, set and light planning together, 

DESIGNER/SCENOGRAPHER:

useful scope of knowledge for stage design:

art and architecture, historical fashion and decor, drawing, panting, sculpture techniques, drafting and comp rendering, building materials, fabrics - fibers, patterns, dying and upholstery, craft, people and places, events current and historical, technology, colour theory, texture, aesthetic proportion, light and shadow

designers also draw on practical skills and knowlege, research skills, intuition, innovation and talent

designers are most most importantly collaborators, project coordinators and diplomats

helpyoudraw:

Sources: [x][x][x][x][x][x]

4 5 6 7 8

©