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    <title type="text">Culture Making items tagged naming</title>
    <subtitle type="text">Culture Making:Main column content</subtitle>
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    <updated>2012-02-03T04:45:04Z</updated>
    <rights>Copyright (c) 2012, Nate Barksdale</rights>
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    <id>tag:culture-making.com,2012:02:03</id>


    <entry>
      <title>Sign your work!</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/sign_your_work/" />
      <id>tag:culture-making.com,2012:author/9.1365</id>
      <published>2012-02-03T13:00:03Z</published>
      <updated>2012-02-03T04:45:04Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

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					<b>Nate: </b><em>“A Gloucestershire, UK shopkeeper has found a partial solution to the tragedy of the commons: de-commodifying the village children's litter. It helps that her community is small enough that she knows most of the kids by name (and that they don't have many other options for their snack food needs when she cuts them off). In this <a href="http://news.bbc.co.uk/1/hi/england/7953144.stm">video clip</a>, she says that the litterers she catches nearly always prefer 10 minutes of trash pickup to a multiday candy ban.”</em><br />		
		<div style="float:right; padding:15px 5px 5px 5px"><img src="http://culture-making.com/media/_45582652_sweets.jpg" alt="image"></div><p>A village shopkeeper is marking sweet wrappers and drinks bottles with the names of children who buy them in a bid to discourage them from littering.</p><p>Yvonne Froud, 52, took action after becoming fed up with the rubbish collecting in Joys Green in the Forest of Dean, Gloucestershire&#8230;.</p><p>Mrs Froud said if named wrappers were found on the streets, she had a chat to the &#8220;offender&#8221; who was temporarily banned from the shop or asked to pick up some litter as a consequence.</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://news.bbc.co.uk/2/hi/uk_news/england/gloucestershire/7952397.stm">Store owner takes on litterbugs</a>," <a href="http://news.bbc.co.uk/2/hi/uk_news/england/gloucestershire/7952397.stm">BBC News</a>, 19 March 2009 :: via <a href="http://freakonomics.blogs.nytimes.com/2009/03/23/rubbish-with-your-name-on-it/">NYTimes.com Freakonomics Blog</a></div>		

	
			
			
			
		
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    <entry>
      <title>We speak volumes</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/we_speak_volumes/" />
      <id>tag:culture-making.com,2012:author/9.1244</id>
      <published>2012-02-03T13:00:03Z</published>
      <updated>2012-02-03T04:45:04Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
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					<b>Nate: </b><em>“From my current morning reading, the 1987 Booker Prize novel.”</em><br />		
		<p>Today language abandoned me. I could not find the word for a simple object—a commonplace familiar furnishing. For an instant, I stared into a void. Language tethers us to the world; without it we spin like atoms. Later, I made an inventory of the room—a naming of parts: bed, chair, table, picture, vase, cupboard, window, curtain. Curtain. And I breathed again.</p><p>We open our mouths and out flow words whose ancestries we do not even know. We are walking lexicons. In a single sentence of idle chatter we preserve Latin, Anglo-Saxon, Norse; we carry a museum inside our heads, each day we commemorate peoples of whom we have never heard. More than that, we speak volumes—our language is the language of everything we have not read. Shakespeare and the Authorized Version surface in supermarkets, on buses, chatter on radio and television. I find this miraculous. I never cease to wonder at it. That words are more durable than anything, that they blow with the wind, hibernate and reawaken, shelter parasitic on the most unlikely hosts, survive and survive and survive.</p><hr />
<div class="author" style="font-size: -1">from <i><a href="http://en.wikipedia.org/wiki/Moon_Tiger">Moon Tiger</a>,</i> by Penelope Lively (1987), pp.40–41</div>		

	
			
			
			
		
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    <entry>
      <title>A name where there had been none</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/a_name_where_there_had_been_none/" />
      <id>tag:culture-making.com,2012:author/9.1093</id>
      <published>2012-02-03T13:00:03Z</published>
      <updated>2012-02-03T04:45:04Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

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		<p>God is perfectly capable of naming every animal and giving Adam a dictionary—but he does not. He makes room for Adam’s creativity—not just waiting for Adam to give a pre-existing right answer to a quiz, but genuinely allowing Adam to be the one who speaks something out of nothing, a name where there had been none, and allowing that name to have its own being.</p><br />
		<p><small>	&mdash;<i>Culture Making</i>, p.109</small></p>

	
			
			
			
		
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    <entry>
      <title>Naming and being</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/naming_and_being/" />
      <id>tag:culture-making.com,2012:author/9.908</id>
      <published>2012-02-03T13:00:03Z</published>
      <updated>2012-02-03T04:45:04Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

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		<p>Once Helen Keller knew what water was, she had to know what everything else was.</p><br />
		<p><small>	&mdash;Walker Percy, "Naming and Being"</small></p>

	
			
			
			
		
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    <entry>
      <title>G. SALE</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/g_sale/" />
      <id>tag:culture-making.com,2012:author/9.793</id>
      <published>2012-02-03T13:00:03Z</published>
      <updated>2012-02-03T04:45:04Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

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					<b>Nate: </b><em>“This is a sign one of my neighbors set out up the street earlier this summer. I was impressed by its somewhat manic brevity—and how, in the context, the first letter is really all that's needed. (At the time I also happened to be reading John Berger's novel <a href="http://www.amazon.com/G-Novel-John-Berger/dp/0679736549">G.</a>, whose <a href="http://www.amazon.com/gp/reader/0679736549/ref=sib_dp_pt#reader-link">cover</a> in the paperback I had was in the same burgundy-and-golden-brown range—a lovely random convergance of cultural artifacts, of life and lit).”</em><br />		
		<a href="about:blank"><img src="http://culture-making.com/media/P1010012.jpg" alt="photo" /></a><hr />
<div class="author" style="font-size: -1">"G. SALE," Beaverton, Oregon (2008), photo by the blogger</div>		

	
			
			
			
		
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    <entry>
      <title>Carbonation nation</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/carbonation_nation/" />
      <id>tag:culture-making.com,2012:author/9.670</id>
      <published>2012-02-03T13:00:03Z</published>
      <updated>2012-02-03T04:45:04Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

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					<b>Nate: </b><em>“Results of an online survey which got more than 120,000 answers to the question, "What's your local name for a generic soft drink?" Click through for a slightly-less-shrunken version; the yellow varients are "soda"; the blues are "pop"; the reds are (of course) "coke", the greens are "other" (e.g. "dope," "tonic," and of course "soft drink"). I'd love to see an international version of the survey, with my favorite "cooldrink" predominating in India and elsewhere.”</em><br />		
		<a href="http://strangemaps.wordpress.com/2008/08/18/308-the-pop-vs-soda-map/"><img src="http://culture-making.com/media/total-county.jpg" alt="image" /></a><hr />
<div class="author" style="font-size: -1">"Generic Names for Soft Drinks by County," map by Matthew T. Campbell, from "<a href="http://popvssoda.com:2998/">The Pop Vs Soda Page</a>," by Alan McConchie :: via <a href="http://strangemaps.wordpress.com/2008/08/18/308-the-pop-vs-soda-map/">Strange Maps</a></div>		

	
			
			
			
		
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    <entry>
      <title>Cuba&#8217;s generation y</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/cubas_generation_y/" />
      <id>tag:culture-making.com,2012:author/9.664</id>
      <published>2012-02-03T13:00:03Z</published>
      <updated>2012-02-03T04:45:04Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
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					<b>Nate: </b><em>“Naming can be an act of creative resistance. But, in the Cuban examples here ("Yampier, Yankiel. Yordenis, Yulieski"), this involves resistance to: the new strictures of communism? the old ones of Spanish and "white" domination of the isle? I wonder how much this parallels African-American traditions of bestowing ever-innovative names. (Or the majority-culture tradition of thinking that Jarell and Moesha sound odd but Logan and Madison don't). The article doesn't really get at my own theory for the increase of y-names: Cuba has quite a few towns and districts that start with y and even more that contain that letter -- atypical for Spanish-speaking lands; I think in many cases those y's are rooted in indigenous or early-colonial place-names. So it's not like Cubans had to go to Angola or Moscow to find inspiration for their y's.”</em><br />		
		<p>[Cuban philologist-cum-antigovernment blogger Yoani] Sánchez theorizes that in one of the world’s last remaining Stalinist regimes, fashioning a bizarre name from whole cloth has been one safe way of flexing creative muscles without running afoul of the authorities. “Cuba is a country where everything was rationed and controlled except the naming of your children,” she says. “The state would tell you what you would study and where, and creating names was a way of rebelling.” Jaime Suchlicki, a Cuba expert at the University of Miami, says many middle-aged Cubans spent their youth fighting Fidel Castro’s proxy wars in Ethiopia and Angola and may have given their kids African-sounding names in tribute to the continent. Similarly, the preponderance of names starting with the letter Y may reflect the contact Cubans had with Russian advisers sporting names like Yuri and Yevgeny in the years when the Soviet Union was bankrolling Castro’s revolution.</p><p>Cubans on both sides of the Florida Straits associate the practice with the Communist era. Suchlicki spent his formative years in pre-revolutionary Havana, and says his friends, relatives and neighbors all went by traditional, Spanish-language names. He left the island a year after Castro ousted a U.S.-backed dictator in 1959, and says the growing popularity of unconventional names among his younger countrymen came to his attention only after Castro had consolidated his grip on power. He speculates that this preference for unusual names might signify a denial on some level of the country’s Spanish Roman Catholic heritage. “This may be a rejection of the Spanish past since Cuba is much more black today than it once was,” he says, noting that an estimated 62 percent of all Cubans are of African descent (up from 40 percent 50 years ago).</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.newsweek.com/id/151672">Why Cubans Have Such Unusual Names</a>," by Joe Contreras, <a href="http://www.newsweek.com/id/151672">Newsweek.com</a>, 9 August 2008</div>		

	
			
			
			
		
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    <entry>
      <title>Naming and photography</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/naming_and_photography/" />
      <id>tag:culture-making.com,2012:author/9.636</id>
      <published>2012-02-03T13:00:03Z</published>
      <updated>2012-02-03T04:45:04Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
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		<p>Doctored photographs are the least of our worries.  If you want to trick someone with a photograph, there are lots of easy ways to do it. You don’t need Photoshop. You don’t need sophisticated digital photo-manipulation.  You don’t need a computer.  All you need to do is <i>change the caption</i>.</p><br />
		<p><small>	&mdash;Errol Morris, documentary filmmaker, <a href="http://morris.blogs.nytimes.com/2008/08/11/photography-as-a-weapon/">NYTimes.com</a></small></p>

	
			
			
			
		
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    <entry>
      <title>The claims we make on nature and beauty</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/the_claims_we_make_on_nature_and_beauty/" />
      <id>tag:culture-making.com,2012:author/9.625</id>
      <published>2012-02-03T13:00:03Z</published>
      <updated>2012-02-03T04:45:04Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
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					<b>Nate: </b><em>“An Olympic critique by one of the most insightful current writers about the confluence of art, nature, and technology.”</em><br />		
		<p>Sports bring us the human body as a manifestation of nature—not just the elegant forms of athletes, but their animal ability to move through air and water. At the Olympics, these bodies are co-opted by a political culture that wants to be seen as natural, legitimate, stirring, beautiful. Beautiful bodies are just one kind of nature that nations like to claim. After all, this country invented the idea of “national” parks and claims the sublimity of the Grand Canyon (which preceded it by hundreds of millions of years) and all those purple mountains’ majesty as part of its identity. Corporations too like pristine landscapes, particularly for advertisements in which an SUV perches on some remote ledge, or a high-performance car zips along a winding road through landscape splendor. Few car commercials portray gridlock or even traffic—that your car is just a car among cars—let alone the vehicle’s impact on those pristine environments. Of course most of us have become pretty well versed in critiquing advertisements as such—we assume they are coverups if not outright lies. But the Olympics have not been subjected to the same level of critique.
</p><hr />
<div class="author" style="font-size: -1">from "<a href="http://www.orionmagazine.org/index.php/articles/article/3058/">Looking Away from Beauty</a>," by Rebecca Solnit, <a href="http://www.orionmagazine.org/"><i>Orion Magazine</i></a>, July/August 2008 :: via <a href="http://web.ncf.ca/ek867/wood_s_lot.html">wood s lot</a></div>		

	
			
			
			
		
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    <entry>
      <title>ah&#45;SEE&#45;shə</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/ah_see_sh/" />
      <id>tag:culture-making.com,2012:author/9.628</id>
      <published>2012-02-03T13:00:03Z</published>
      <updated>2012-02-03T04:45:04Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

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    <entry>
      <title>Moses writing in Eden</title>
      <link rel="alternate" type="text/html" href="http://www.culture-making.com/post/moses_writing_in_eden/" />
      <id>tag:culture-making.com,2012:author/9.605</id>
      <published>2012-02-03T13:00:03Z</published>
      <updated>2012-02-03T04:45:04Z</updated>
      <author>
            <name>Nate Barksdale</name>
            <email>natebarksdale@gmail.com</email>
                  </author>

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					<b>Nate: </b><em>“I couldn't track down the exact reasoning why Moses would be writing in Eden, rather then just about it. I think it might best be viewed as a depiction of an inspired artist inhabiting his work. Perhaps Moses is writing the section of Genesis about Adam naming the animals ... making for a double-inhabitation. (Thanks to my art-history-savvy friend Ben for the suggestion.)”</em><br />		
		<a href="http://www.google.com/search?q=leo+bible&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a"><img src="http://horizonsofthepossible.com/media/moses_writing_in_eden.jpg" alt="image" /></a><hr />
<div class="author" style="font-size: -1">"Moses Writing in Eden," from the Leo Bible (the earliest surviving illustrated Byzantine Bible), c.940</div>		

	
			
			
			
		
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