For many Wilmington protesters, work continues behind the scenes

For many Wilmington protesters, work continues behind the scenes

Protests get all the attention, but voter drives, focus on youth and other community efforts are what will create lasting change, activists say We can confirm that Stadia absolutely does work on the new Chromecast with Google TV. When we sideloaded the Android version of Stadia onto it, it fired up our existing cloud games quite nicely

In Wilmington and across the country, 2020 will long be remembered as the summer of the protest.

Sparked in May by the killing of George Floyd, a Black man, by a white police officer in Minneapolis and fueled by what many see as the systemic racism pervading American society — and perhaps boosted by a pandemic that has a cooped-up country on edge — the protests have mostly died down, at least in Wilmington.

Protests get lots of media attention, and in some cases that attention has helped drive real change, both locally and nationally. But activists say the often-unheralded work they’re doing behind the scenes is as important, if not more important, than the protests themselves.

More: Local Breonna Taylor protest ties national issues to Wilmington

More:Red paint poured in, painted on Kenan Fountain in downtown Wilmington

More:Wilmington’s Curbside Cinema drive-in announces 5 new movies for October

Sonya Patrick is a co-founder of Wilmington’s arm of the Black Lives Matter movement. The group hosts bi-monthly rallies on the second and fourth Wednesdays at the 1898 memorial in downtown Wilmington. Most recently, on Sept. 24, they were joined by Women Organizing for Wilmington to protest only one charge (for public endangerment) being filed against police officers who shot and killed Breonna Taylor in her Kentucky home in March.

Patrick said the #BLM ILM protests are but a fraction of the work her group is doing.

“It takes more than protesting,” Patrick said. “It takes policy changes.”

And getting those policies changed requires a sustained effort on multiple fronts. As part of those efforts, Patrick said, Black Lives Matter Wilmington has virtual meetings via Zoom every Monday with community and faith leaders, activists, politicians and anyone else who wants to attend.

“We discuss issues in the community,” Patrick said. “There are so many issues we’re working toward.”

Among those issues, she said, is a push for elected officials and police officers to undergo mandatory cultural competency and implicit bias training. They’re also working toward getting reparations from the state of North Carolina for the descendants of the victims of the 1898 coup and massacre.

Black Lives Matter Wilmington works directly with nonprofit North Carolina Stop Gen-X In Our Water to get home water filters to people of limited means so they don’t have to buy bottled water. Patrick’s group also helps find therapists for victims of police brutality and their families. They are raising money to help get legal aid for people who need it.

And, even though the group doesn’t consider itself a political organization since they don’t endorse candidates — “there are problems on both sides,” Patrick said — one of its main efforts is getting people registered to vote and making sure they’re able to get to the polls.

“We have to vote,” she said, “because public officials make decisions that impact our lives.”

Lynn Shoemaker is the president and a founding member of Women Organizing for Wilmington, or WoW, a progressive group that began having weekly demonstrations at the corner of Third and Princess streets shortly after Donald J. Trump was elected president in 2016.

Shoemaker has been a powerful speaker at BLM rallies in recent months, but her group has largely backed off public protests for health and safety reasons since the pandemic hit home in March.

“The protests are important, but they are the tip of the iceberg,” Shoemaker said, calling them an “alarm or a sounding of what’s going on under the surface. They’re meant to get lawmakers and people in power to pay attention.”

Not long ago, Shoemaker said, she wrote up an outline to detail all the activities WoW is involved with. It took her a while, she said, “But I finally got it down to eight pages.”

The group has been around for more than eight years, though it’s been most active in the past three and a half. In that time, Shoemaker said, WoW has worked with nearly three dozen community organizations on issues that impact women and families, from social justice (campaign to end cash bail) and environmental and water issues to a #MeToo support group for mothers of children who were sexually assaulted or abused while in the New Hanover County Schools.

Her group is also at work on creating a directory of women- and environment-friendly businesses in the Wilmington area.

“We’ve just sort of embedded ourselves in the community where the most vulnerable populations reside,” she said. “We’re there and we care and we’re not just a pop-up for the moment. We’re in it for the long haul.”

They’ve always encouraged people to vote, Shoemaker said, but they’ve never endorsed candidates before. They changed that stance this year, she said, because WoW’s members felt the stakes were too high not to. You can find a roster of Wow-approved candidate “recommendations” under a pink banner pinned to the top of the group’s Facebook page, Facebook.com/WomenOrganizingWilmington.

If you go to a Black Lives Matter protest in Wilmington, chances are you’ll see Vance Williams, who, along with Sonya Patrick, is a co-organizer of the group. A former drill instructor from Detroit who’s been in the Wilmington area for 17 years, Williams spends most of his time working on what he sees as issues the protests are meant to address.

To some, Williams said, the word “protest” is a loaded term that can be used against those fighting for change.

“They label the protester as a terrorist,” Williams said, when “they are a symptom” of larger problems.“They are only responding to a voice being muffled or snuffed out. They are only responding to dysfunction.”

Williams noted that Dr. Martin Luther King Jr. was called a terrorist and an enemy of the state by those who disliked his work for civil rights.

“I don’t view them as protesters. I view them as people who love humanity,” Williams said. “I view them as humanitarians.”

Williams works on a number of issues, from conflict resolution between street organizations to empowering community youth through his Advance Youth Outreach program. One of many recent projects involves providing free desks for children doing at-home virtual learning.

“There is not a person in the community level who’s more connected than I am on a lot of these issues,” Williams said. Often, he said, officials from social services or law  enforcement reach out to him for help.

“If there is a problem,” he said, “they come to me.”

Earlier this year, with West Coast transplant Adbul Hafeedh Bin Abdullah, Williams co-founded Sokoto House at 1219 Dawson St.

With Abdullah as executive director and Williams as operations director, Sokoto House aims to be a space for learning and teaching about everything from ecology and gardening to self-defense and green building. And that’s just for starters.

Williams said the goal for Sokoto House is to be a positive force, and for programs there to help tackle problems including education, gentrification, employment, social violence and police brutality.

Ultimately, Williams said, he wants to provide children and families with the “necessary resources to spark their desire. That’s what I’m passionate about.”

The recent protests, he said, have been inspirational to young people. Some, including recent University of North Carolina Wilmington grads, have engaged in programs at Sokoto House.

“They’re doing life-changing stuff,” he said. “Now, they see purpose.”

The Wilmington community group that calls itself “the lowercase leaders” sprung out of Wilmington’s George Floyd protests in late May. Members of the group didn’t respond to interview requests for this story. But in June the lowercase leaders’ Brandon Cagle talked about having a series of “community service days” when members of the lowercase leaders would go into the community to help people with things like yard work.

“Our platform is building community,” the lowercase leaders’ Lily Nicole said at the time, and Williams said Nicole and other members of her group have been active at a number of events at Sokoto House, including community markets.

More:Born of protests, Wilmington’s ’lowercase leaders’ help quicken pace of local change

More:Wilmington activists to stop leading Black Lives Matter protests

“For generations we have used (societal) structures to oppress and marginalize,” Williams said. “Structures focus too much on resistance instead of preventive measures” to stop the things that people are protesting in the first place, Williams said.

To him, this year’s protests are the result of problems that have been allowed to fester for a long time.

“This is not new,” Williams said. “It really has just become more visible. It has become more intense. That’s the only difference I see.”

Contact John Staton at 910-343-2343 or John.Staton@StarNewsOnline.com.

Source: www.starnewsonline.com


Marshall McLuhan - Wikipedia

Marshall McLuhan – Wikipedia

Marshall McLuhan

CC

McLuhan in 1945

Herbert Marshall McLuhan

Edmonton, Alberta, Canada

Toronto, Ontario, Canada

  • University of Manitoba
  • Trinity Hall, Cambridge

Corinne Lewis

(m. 1939)​

Main interests

  • Media
  • mass media
  • sensorium
  • New Criticism

Notable ideas

Influences

  • Thomas Aquinas
  • Aristotle
  • Francis Bacon
  • Hilaire Belloc
  • Bonaventure
  • E. A. Bott[1]
  • Bertram Brooker[1]
  • Richard Maurice Bucke[1]
  • Edmund Snow Carpenter[1]
  • G. K. Chesterton
  • Marcel Duchamp
  • Jacques Ellul
  • Reginald Fessenden[1]
  • John Murray Gibbon[1]
  • Étienne Gilson
  • Eric A. Havelock
  • Harold Innis
  • James Joyce
  • F. R. Leavis
  • Wyndham Lewis
  • Thomas Nashe
  • I. A. Richards
  • Hans Selye[2]
  • Influenced

  • Jean Baudrillard
  • Norbert Bolz
  • John Cage[3]
  • Douglas Coupland
  • Merce Cunningham[4]
  • Dick Higgins[1]
  • Abbie Hoffman
  • Hugh Kenner[5]
  • Jacques Languirand[1]
  • Timothy Leary
  • Paul Levinson
  • Terence McKenna
  • Ann Nocenti
  • Walter J. Ong
  • Neil Postman
  • B. W. Powe
  • Douglas Rushkoff
  • Gerd Stern[1]
  • Nelson Thall
  • William Irwin Thompson
  • Wired
  • Aquinas, Scotus, and Ockham

  • Cardinal virtues
  • Just price
  • Just war
  • Probabilism
  • Natural law
  • Personalism
  • Social teaching
  • Virtue ethics
  • Augustinianism
  • Cartesianism
  • Molinism
  • Occamism
  • Salamanca
    • Neo-scholasticism
  • Scotism
  • Thomism
  • Ancient

  • Ambrose
  • Athanasius the Great
  • Augustine of Hippo
  • Clement of Alexandria
  • Cyprian of Carthage
  • Cyril of Alexandria
  • Gregory of Nyssa
  • Irenaeus of Lyons
  • Jerome
  • John Chrysostom
  • John of Damascus
  • Justin Martyr
  • Origen
  • Paul the Apostle
  • Tertullian
  • Postclassical

  • Pseudo-Dionysius
  • Boethius
  • Isidore of Seville
  • Scotus Eriugena
  • Bede
  • Anselm of Canterbury
  • Hildegard of Bingen
  • Peter Abelard
  • Symeon the New Theologian
  • Bernard of Clairvaux
  • Hugh of Saint Victor
  • Thomas Aquinas
  • Benedict of Nursia
  • Pope Gregory I
  • Peter Lombard
  • Bonaventure
  • Albertus Magnus
  • Duns Scotus
  • Roger Bacon
  • Giles of Rome
  • James of Viterbo
  • Giambattista Vico
  • Gregory of Rimini
  • William of Ockham
  • Catherine of Siena
  • Paul of Venice
  • Modern

  • Baltasar Gracián
  • Erasmus of Rotterdam
  • Thomas Cajetan
  • Nicholas of Cusa
  • Luis de Molina
  • Teresa of Ávila
  • Thomas More
  • Francis de Sales
  • Francisco de Vitoria
  • Domingo de Soto
  • Martín de Azpilcueta
  • Tomás de Mercado
  • Antoine Arnauld
  • René Descartes
  • Robert Bellarmine
  • Ignacy Krasicki
  • Hugo Kołłątaj
  • François Fénelon
  • Alphonsus Liguori
  • Nicolas Malebranche
  • Blaise Pascal
  • Francisco Suárez
  • Giovanni Botero
  • Felicité de Lamennais
  • Antonio Rosmini
  • John Henry Newman
  • Contemporary

  • Pope Benedict XVI
  • Pope John Paul II
  • G. E. M. Anscombe
  • Hans Urs von Balthasar
  • Maurice Blondel
  • G. K. Chesterton
  • Yves Congar
  • Henri de Lubac
  • John Finnis
  • Reginald Garrigou-Lagrange
  • Étienne Gilson
  • René Girard
  • Nicolás Gómez Dávila
  • Romano Guardini
  • John Haldane
  • Dietrich von Hildebrand
  • Bernard Lonergan
  • Marshall McLuhan
  • Alasdair MacIntyre
  • Gabriel Marcel
  • Jean-Luc Marion
  • Jacques Maritain
  • Emmanuel Mounier
  • Josef Pieper
  • Karl Rahner
  • Edith Stein
  • Charles Taylor
    • v
    • t
    • e

    Had I not encountered Chesterton I would have remained agnostic for many years at least. Chesterton did not convince me of religious faith, but he prevented my despair from becoming a habit or hardening into misanthropy. He opened my eyes to European culture and encouraged me to know it more closely. He taught me the reasons for all that in me was simply blind anger and misery.

    This externalization of our senses creates what de Chardin calls the “noosphere” or a technological brain for the world. Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as in an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and super-imposed co-existence.[45]

    [I]f a new technology extends one or more of our senses outside us into the social world, then new ratios among all of our senses will occur in that particular culture. It is comparable to what happens when a new note is added to a melody. And when the sense ratios alter in any culture then what had appeared lucid before may suddenly become opaque, and what had been vague or opaque will become translucent.

    In this passage [Ivins] not only notes the ingraining of lineal, sequential habits, but, even more important, points out the visual homogenizing of experience of print culture, and the relegation of auditory and other sensuous complexity to the background.…

    The technology and social effects of typography incline us to abstain from noting interplay and, as it were, “formal” causality, both in our inner and external lives. Print exists by virtue of the static separation of functions and fosters a mentality that gradually resists any but a separative and compartmentalizing or specialist outlook.

    Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…

    In our long striving to recover for the Western world a unity of sensibility and of thought and feeling we have no more been prepared to accept the tribal consequences of such unity than we were ready for the fragmentation of the human psyche by print culture.

    Is it not obvious that there are always enough moral problems without also taking a moral stand on technological grounds?…

    Print is the extreme phase of alphabet culture that detribalizes or decollectivizes man in the first instance. Print raises the visual features of alphabet to highest intensity of definition. Thus print carries the individuating power of the phonetic alphabet much further than manuscript culture could ever do. Print is the technology of individualism. If men decided to modify this visual technology by an electric technology, individualism would also be modified. To raise a moral complaint about this is like cussing a buzz-saw for lopping off fingers. “But”, someone says, “we didn’t know it would happen.” Yet even witlessness is not a moral issue. It is a problem, but not a moral problem; and it would be nice to clear away some of the moral fogs that surround our technologies. It would be good for morality.

    The next medium, whatever it is—it may be the extension of consciousness—will include television as its content, not as its environment, and will transform television into an art form. A computer as a research and communication instrument could enhance retrieval, obsolesce mass library organization, retrieve the individual’s encyclopedic function and flip into a private line to speedily tailored data of a saleable kind.

    The list of objections could be and has been lengthened indefinitely: confusing technology itself with its use of the media makes of the media an abstract, undifferentiated force and produces its image in an imaginary “public” for mass consumption; the magical naivete of supposed causalities turns the media into a catch-all and contagious “mana”; apocalyptic millenarianism invents the figure of a homo mass-mediaticus without ties to historical and social context, and so on.

    The work of McLuhan was a particular culmination of an aesthetic theory which became, negatively, a social theory … It is an apparently sophisticated technological determinism which has the significant effect of indicating a social and cultural determinism.… If the medium – whether print or television – is the cause, of all other causes, all that men ordinarily see as history is at once reduced to effects. (Williams 1990, 126/7)[68][failed verification]

    The past went that-a-way. When faced with a totally new situation we tend always to attach ourselves to the objects, to the flavor of the most recent past. We look at the present through a rear-view mirror. We march backward into the future. Suburbia lives imaginatively in Bonanza-land.[76]

    An audio recording version of McLuhan’s famous work was made by Columbia Records. The recording consists of a pastiche of statements made by McLuhan interrupted by other speakers, including people speaking in various phonations and falsettos, discordant sounds and 1960s incidental music in what could be considered a deliberate attempt to translate the disconnected images seen on TV into an audio format, resulting in the prevention of a connected stream of conscious thought. Various audio recording techniques and statements are used to illustrate the relationship between spoken, literary speech and the characteristics of electronic audio media. McLuhan biographer Philip Marchand called the recording “the 1967 equivalent of a McLuhan video.”[77]

  • Thunder 1: Paleolithic to Neolithic. Speech. Split of East/West. From herding to harnessing animals.
  • Thunder 2: Clothing as weaponry. Enclosure of private parts. First social aggression.
  • Thunder 3: Specialism. Centralism via wheel, transport, cities: civil life.
  • Thunder 4: Markets and truck gardens. Patterns of nature submitted to greed and power.
  • Thunder 5: Printing. Distortion and translation of human patterns and postures and pastors.
  • Thunder 6: Industrial Revolution. Extreme development of print process and individualism.
  • Thunder 7: Tribal man again. All characters end up separate, private man. Return of choric.
  • Thunder 8: Movies. Pop art, pop Kulch via tribal radio. Wedding of sight and sound.
  • Thunder 9: Car and Plane. Both centralizing and decentralizing at once create cities in crisis. Speed and death.
  • Thunder 10: Television. Back to tribal involvement in tribal mood-mud. The last thunder is a turbulent, muddy wake, and murk of non-visual, tactile man.
  • Another theme of the Wake [Finnegans Wake] that helps in the understanding of the paradoxical shift from cliché to archetype is ‘past time are pastimes.’ The dominant technologies of one age become the games and pastimes of a later age. In the 20th century, the number of ‘past times’ that are simultaneously available is so vast as to create cultural anarchy. When all the cultures of the world are simultaneously present, the work of the artist in the elucidation of form takes on new scope and new urgency. Most men are pushed into the artist’s role. The artist cannot dispense with the principle of ‘doubleness’ or ‘interplay’ because this type of hendiadys dialogue is essential to the very structure of consciousness, awareness, and autonomy.

    Pascal, in the seventeenth century, tells us that the heart has many reasons of which the head knows nothing. The Theater of the Absurd is essentially a communicating to the head of some of the silent languages of the heart which in two or three hundred years it has tried to forget all about. In the seventeenth century world the languages of the heart were pushed down into the unconscious by the dominant print cliché.

    Occidentals cannot easily credit the ability of the Japanese to swing from one behavior to another without psychic cost. Such extreme possibilities are not included in our experience. Yet in Japanese life the contradictions, as they seem to us, are as deeply based in their view of life as our uniformities are in ours.

  • What does the medium enhance?
  • What does the medium make obsolete?
  • What does the medium retrieve that had been obsolesced earlier?
  • What does the medium flip into when pushed to extremes?
  • Enhancement (figure): What the medium amplifies or intensifies. Radio amplifies news and music via sound.
  • Obsolescence (ground): What the medium drives out of prominence. Radio reduces the importance of print and the visual.
  • Retrieval (figure): What the medium recovers which was previously lost. Radio returns the spoken word to the forefront.
  • Reversal (ground): What the medium does when pushed to its limits. Acoustic radio flips into audio-visual TV.
  • A portion of Toronto’s St. Joseph Street is co-named Marshall McLuhan Way

    • reissued by Gingko Press, 2002. ISBN 1-58423-050-9.
    • reissued by Routledge & Kegan Paul. ISBN 0-7100-1818-5.
    • reissued by MIT Press, 1994, with introduction by Lewis H. Lapham; reissued by Gingko Press, 2003. ISBN 1-58423-073-8.
    • reissued by Gingko Press, 2001. ISBN 1-58423-070-3.
    • reissued by Gingko Press, 2001. ISBN 1-58423-074-6.
  • 1970. From Cliché to Archetype, with Wilfred Watson. New York: Viking. ISBN 0-670-33093-0.
  • 1988. Laws of Media, edited by Eric McLuhan. Toronto: University of Toronto Press. ISBN 0-8020-5782-9.
  • 2016 The Future of the Library: From Electronic Media to Digital Media, edited by Robert K. Logan. Peter Lang. ISBN 9781433132643.
  • Neuroplasticity
  • Cortical remapping
  • Social interface
  • by the time it appeared in 1967, McLuhan no doubt recognized that his original saying had become a cliché and welcomed the opportunity to throw it back on the compost heap of language to recycle and revitalize it. But the new title is more than McLuhan indulging his insatiable taste for puns, more than a clever fusion of self-mockery and self-rescue—the subtitle is ‘An Inventory of Effects,’ underscoring the lesson compressed into the original saying.[74]

    However, the FAQ section on the website maintained by McLuhan’s estate says that this interpretation is incomplete and makes its own leap of logic as to why McLuhan left it as is:

    Why is the title of the book The Medium Is the Massage and not The Medium is the Message? Actually, the title was a mistake. When the book came back from the typesetter’s, it had on the cover “Massage” as it still does. The title was supposed to have read The Medium is the Message but the typesetter had made an error. When McLuhan saw the typo he exclaimed, “Leave it alone! It’s great, and right on target!” Now there are possible four readings for the last word of the title, all of them accurate: Message and Mess Age, Massage and Mass Age.

  • Marshall McLuhan on IMDb
  • “James Feeley fonds”. University of St. Michael’s College, John M. Kelly Library. Archived from the original on 2016-03-04. Retrieved 15 October 2015.
  • “The Marshall McLuhan Collection”. University of St. Michael’s College, John M. Kelly Library. Archived from the original on 2016-03-04. Retrieved 15 October 2015.
  • Source: en.wikipedia.org

    Author: Authority control


    Our unannounced Google Chromecast didn’t come with Stadia, but it sure does work

    Our unannounced Google Chromecast didn’t come with Stadia, but it sure does work

    Yesterday, we bought the new Google Chromecast, even though it hasn’t yet been announced. Weirdly, it didn’t come with Google Stadia — of the 12 streaming services prominently pictured on the front of the box, Google’s own cloud gaming service wasn’t one of them. We didn’t find it pre-installed on the device, either.

    But we can confirm that Stadia absolutely does work on the new “Google TV” device. When The Verge’s Chris Welch sideloaded the Stadia Android app onto his new Chromecast, it fired up our existing cloud games quite nicely. That suggests Google shouldn’t have much issue bringing official support to the Chromecast, assuming it isn’t already doing so at the Google hardware event tomorrow.

    And, assuming the $50 price we paid for the new Chromecast holds, it means you’ll probably soon be able to play Stadia on your TV for $20 less than previously. Originally, Google limited Stadia on TV to the $69.99 Chromecast Ultra. Admittedly, the new Chromecast doesn’t come with an Ethernet adapter in the box like the Ultra, though we can confirm that at least one third-party USB-C adapter does work.

    If you’re looking to try this yourself, know that sideloading apps onto Android TV does take a bit of doing; in addition to flicking the typical “Unknown Sources” switch in your settings page, you’ll need to find and trust an APK with your device, and figure out a way to sling the file to your dongle. There are apps that’ll do it wirelessly or via the cloud, or you can go the old-fashioned ADB route. You may also need to tick this flag in the Stadia app:

    And even then, we can’t yet say how well the experience will work. With the best-case scenario of a Wi-Fi router right next to the TV, it feels pretty responsive, and it did automatically put our TV into low-latency mode. But we can’t seem to buy games in the app yet — trying to do so causes Stadia to crash — and the app was a big sluggish when loading a larger library of games. We’re also testing with an Xbox controller instead of the official Stadia one.

    But as Android Police points out, Google seems to have been rapidly improving the Stadia app’s quiet compatibility with Android TVs, so we’d be surprised if the company doesn’t announce an official Android TV launch for Stadia before long.

    Source: www.theverge.com

    Author: Sean Hollister


    For many Wilmington protesters, work continues behind the scenes


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