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WEBVTT
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Kind: captions
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Language: en
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00:00:00.040 --> 00:00:00.610
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Here's an idea.
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00:00:00.610 --> 00:00:02.886
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Certain parts of the internet
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have their own dialects.
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00:00:07.500 --> 00:00:10.100
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I've joked more than once that
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the internet is my home town.
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00:00:10.100 --> 00:00:12.516
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And I want to be completely
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clear that that is not a joke.
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00:00:12.516 --> 00:00:13.930
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I am literally
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from the internet.
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00:00:13.930 --> 00:00:14.430
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OK.
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00:00:14.430 --> 00:00:15.590
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Really, I'm from Massachusetts.
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00:00:15.590 --> 00:00:18.089
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But I have been wondering, in
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the way that most of my family
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00:00:18.089 --> 00:00:21.390
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has a strong Boston accent,
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do I or other people
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00:00:21.390 --> 00:00:23.530
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have internet accents?
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00:00:23.530 --> 00:00:24.504
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Is that a thing?
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00:00:24.504 --> 00:00:25.920
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Is there some part
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of the internet
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00:00:25.920 --> 00:00:28.020
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that I sound like I am from?
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00:00:28.020 --> 00:00:29.830
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I mean, it's probably
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not an accent,
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00:00:29.830 --> 00:00:31.304
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because accents
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are pronunciation.
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00:00:31.304 --> 00:00:33.220
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And on the internet, you
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don't talk, you type.
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00:00:33.220 --> 00:00:35.210
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And when you're reading
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what I have written,
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00:00:35.210 --> 00:00:36.460
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I'm not doing the pronouncing.
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00:00:36.460 --> 00:00:38.750
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You are, in your head.
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00:00:38.750 --> 00:00:41.210
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Unless I start writing
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like James Joyce, I guess.
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00:00:41.210 --> 00:00:43.160
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We know you like Latin
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with essies impures,
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00:00:43.160 --> 00:00:45.650
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and your liber as they sea,
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we certney like gurgles,
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00:00:45.650 --> 00:00:47.830
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love the nagleygargley,
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so arrahbeejee.
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00:00:47.830 --> 00:00:50.790
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So maybe on the internet, it's
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not an accent but a dialect.
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00:00:50.790 --> 00:00:52.770
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Dialects account for
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pronunciation, but also
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00:00:52.770 --> 00:00:55.120
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word choice, vocabulary,
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how those words are
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00:00:55.120 --> 00:00:56.420
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arranged and used.
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00:00:56.420 --> 00:00:58.740
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Usually, we take dialect to
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indicate a group of people
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00:00:58.740 --> 00:01:01.300
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in a place, like southern
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American English, Rioplatense
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00:01:01.300 --> 00:01:04.080
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Spanish, or the Norrland
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dialects of northern Sweden.
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00:01:04.080 --> 00:01:06.450
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But These are simply
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regional dialects.
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00:01:06.450 --> 00:01:09.330
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Dialect refers to any
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characteristic use of language
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00:01:09.330 --> 00:01:13.160
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by a group of people-- a region,
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ethnicity, social class--
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00:01:13.160 --> 00:01:16.000
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including uses that don't
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really sound characteristic,
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00:01:16.000 --> 00:01:19.880
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like Midwestern American English
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or, quote, general American,
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00:01:19.880 --> 00:01:22.680
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the seemingly featureless
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dialect of American English
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00:01:22.680 --> 00:01:24.880
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that most national
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newscasters speak.
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00:01:24.880 --> 00:01:26.860
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I'm chasing down
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leads and practicing
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00:01:26.860 --> 00:01:28.172
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my non-regional diction.
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00:01:28.172 --> 00:01:29.630
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And speaking of
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speaking of which,
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00:01:29.630 --> 00:01:32.050
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since American English is
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the thing I speak the most,
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00:01:32.050 --> 00:01:33.510
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besides highly of
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Chris Pratt, it's
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00:01:33.510 --> 00:01:36.430
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gonna have to be the lingua
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franca for this episode.
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00:01:36.430 --> 00:01:38.366
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I'm sure all of this
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stuff applies really well
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00:01:38.366 --> 00:01:39.740
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to other languages
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and internets,
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00:01:39.740 --> 00:01:42.320
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and I hope that you'll tell
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me how in the comments.
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00:01:42.320 --> 00:01:44.200
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So then I wonder, if
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there is such a thing
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00:01:44.200 --> 00:01:47.630
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as general American
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internet variety,
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00:01:47.630 --> 00:01:52.790
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a kind of uninflected standard
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dialect of internet English.
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00:01:52.790 --> 00:01:53.640
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I think so.
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00:01:53.640 --> 00:01:56.100
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I think it's marked by
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the use of common acronyms
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00:01:56.100 --> 00:01:58.600
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and emoticons, lots of
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which are shared with SMS
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00:01:58.600 --> 00:02:00.900
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speak, maybe a
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nervously deployed
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00:02:00.900 --> 00:02:04.100
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hash tag or the occasional
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nonstandard abbreviation,
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00:02:04.100 --> 00:02:07.330
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maybe the only semi
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self-conscious use of the word
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00:02:07.330 --> 00:02:08.690
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selfie.
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00:02:08.690 --> 00:02:10.320
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I think of general
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internet English
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00:02:10.320 --> 00:02:13.040
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as being used by those
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with no particular internet
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00:02:13.040 --> 00:02:16.630
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affiliation, or who are old.
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00:02:16.630 --> 00:02:19.760
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General internet English is
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an email from your coworker
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00:02:19.760 --> 00:02:22.430
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who really enjoys
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going jet skiing.
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00:02:22.430 --> 00:02:25.761
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It's the opposite end of
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the spectrum from, say, /b/.
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00:02:25.761 --> 00:02:27.260
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And here, I think
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it's worth pausing
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00:02:27.260 --> 00:02:30.150
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to say that it is always
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irresponsible to confidently
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00:02:30.150 --> 00:02:33.370
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proclaim that all people
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in X location do Y thing.
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00:02:33.370 --> 00:02:35.460
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I think all of my
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generalizations
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00:02:35.460 --> 00:02:37.770
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have at least one
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foot in reality.
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00:02:37.770 --> 00:02:40.070
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But if you disagree, I
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hope you will tell me why.
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00:02:40.070 --> 00:02:43.220
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So that being said, lots of the
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boards on 4chan have clearly
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00:02:43.220 --> 00:02:44.720
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identifiable ways
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of communicating,
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00:02:44.720 --> 00:02:47.300
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but /b/'s is more so.
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Many anons on /b/ make
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liberal use of epithets
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for homosexuality, describe
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people or media as cancer,
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00:02:53.040 --> 00:02:55.270
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and generally traffic in
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conversation unsuitable
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00:02:55.270 --> 00:02:58.500
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for your run of the
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mill grandma, Let's say.
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00:02:58.500 --> 00:03:00.850
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Some features of communication,
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like green texting,
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00:03:00.850 --> 00:03:03.780
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which isn't particular to
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/b/ but 4chan as a whole,
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00:03:03.780 --> 00:03:07.320
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exists because the code
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of 4chan provides it.
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00:03:07.320 --> 00:03:10.930
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This is an important part of the
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equation-- available technology
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00:03:10.930 --> 00:03:14.440
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influencing components of
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mediated communication.
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00:03:14.440 --> 00:03:16.380
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For example, the fact
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that Tumblr animates
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gifs in stream made them
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important and powerfully
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00:03:19.970 --> 00:03:22.750
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expressive there, which is
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funny because while gifs might
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00:03:22.750 --> 00:03:25.700
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be powerfully expressive,
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the stereotypical Tumblr text
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post lacks effusiveness--
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all lowercase, very fluid,
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no punctuation.
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It's like Cormac McCarthy
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without capital letters,
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00:03:33.350 --> 00:03:36.280
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and channeling some kind of
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recognizable quirkiness instead
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00:03:36.280 --> 00:03:38.660
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of frustration at the
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futility of justice
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00:03:38.660 --> 00:03:39.840
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in a society on the brink.
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MAN: TBH, I literally
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say "literally" and "TBH"
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literally all the time, TBH.
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Anyway, TBH we
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could literally spend
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the rest of the day talking
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about how people talk.
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00:03:49.900 --> 00:03:53.070
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But I still have some questions,
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and we're be running out
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00:03:53.070 --> 00:03:53.976
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of time here.
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Doesn't there seem
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to be something more
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00:03:55.600 --> 00:03:57.940
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to these couple examples
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than just this is
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how these people talk?
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More than simply words
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and how they're used,
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00:04:01.210 --> 00:04:04.290
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it also seems to reflect
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the values and norms
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of the community itself.
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00:04:05.650 --> 00:04:09.830
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Tumblr's stereotypical text post
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is hesitant, even vulnerable,
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00:04:09.830 --> 00:04:12.440
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on a website where many
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people value sensitivity
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00:04:12.440 --> 00:04:15.540
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and occasionally become so
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emotional that they simply
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00:04:15.540 --> 00:04:17.589
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cannot even-- myself included.
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I frequently am just
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completely unable to even,
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especially if there's a
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Chris Pratt gif set involved.
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What?
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I literally can't even.
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I'm done.
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00:04:26.670 --> 00:04:29.890
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/b/ is a very fast paced
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environment concerned with very
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00:04:29.890 --> 00:04:32.440
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particular aspects of
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the internet and culture.
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00:04:32.440 --> 00:04:35.360
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It appears unwelcoming
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to most newcomers,
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and its language reflects that.
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00:04:37.170 --> 00:04:39.730
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This isn't necessarily true
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of dialects which, yes,
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00:04:39.730 --> 00:04:42.370
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are particular uses of language,
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but don't really account
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for any kind of value system.
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The fact that Rhode Islanders
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use "cabinet" for "milkshake"
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00:04:46.780 --> 00:04:49.060
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or that Bostonians call the
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person who repairs shoes
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00:04:49.060 --> 00:04:51.840
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a "cobbler" doesn't
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arise from any attitude
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00:04:51.840 --> 00:04:55.060
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about dairy products, loafers,
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or being from New England.
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My boy's wicked smart.
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00:04:56.600 --> 00:04:59.170
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So maybe we're not
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talking about dialects?
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00:04:59.170 --> 00:05:00.820
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Educational theorist
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Etienne Wenger
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wrote about communities
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of practice,
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00:05:03.130 --> 00:05:06.000
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which describe
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roughly-- very roughly--
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people who do things together.
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The concept of
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practice, he wrote,
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connotes doing, but not
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just doing in and of itself.
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It is doing in a historical
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and social context that
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00:05:16.950 --> 00:05:20.170
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gives structure and
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meaning to what we do.
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In this sense, practice
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is always social practice.
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Communities forming
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around said practice share
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all kinds of stuff, including
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but not limited to, quote,
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untold rules of thumb,
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recognizable intuitions,
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specific perceptions, well-tuned
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sensitivities, and shared world
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views.
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I know you all in
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for just enough.
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00:05:40.435 --> 00:05:42.500
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For Wenger, the idea of
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communities of practice
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00:05:42.500 --> 00:05:44.830
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is rooted in
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education, specifically
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00:05:44.830 --> 00:05:46.850
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about interests and professions.
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00:05:46.850 --> 00:05:49.540
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But its uses are
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really wide ranging.
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00:05:49.540 --> 00:05:51.180
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Linguistics professor
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Penelope Eckert,
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00:05:51.180 --> 00:05:53.080
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who you might remember
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from our BMO episode,
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00:05:53.080 --> 00:05:55.590
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wrote about how communities
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of practice, because they
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00:05:55.590 --> 00:05:57.130
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share all of those
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things, can have
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00:05:57.130 --> 00:05:59.610
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very strong linguistic aspects.
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00:05:59.610 --> 00:06:01.550
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Speakers develop
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linguistic patterns
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00:06:01.550 --> 00:06:04.650
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as they engage in activity in
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the communities in which they
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00:06:04.650 --> 00:06:06.230
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participate, she writes.
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00:06:06.230 --> 00:06:09.280
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And later, social identity,
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community membership,
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00:06:09.280 --> 00:06:13.800
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|
forms of participation, the full
|
|
range of community practice,
|
|
|
|
00:06:13.800 --> 00:06:16.430
|
|
and the symbolic value
|
|
of linguistic form
|
|
|
|
00:06:16.430 --> 00:06:19.250
|
|
are being constantly and
|
|
mutually constructed.
|
|
|
|
00:06:19.250 --> 00:06:21.500
|
|
Eckert was writing specifically
|
|
about the construction
|
|
|
|
00:06:21.500 --> 00:06:21.999
|
|
of gender.
|
|
|
|
00:06:21.999 --> 00:06:24.120
|
|
But her thesis still
|
|
applies, I think.
|
|
|
|
00:06:24.120 --> 00:06:26.890
|
|
In short, what you do,
|
|
who you do it with,
|
|
|
|
00:06:26.890 --> 00:06:30.490
|
|
how you talk about it, how the
|
|
talking advertises or supports
|
|
|
|
00:06:30.490 --> 00:06:33.210
|
|
the doing, and how
|
|
you self-identify
|
|
|
|
00:06:33.210 --> 00:06:37.529
|
|
as a doer of things are
|
|
all very intimately linked.
|
|
|
|
00:06:37.529 --> 00:06:40.070
|
|
Captain Rachel on Twitter let
|
|
me know that alternatively, you
|
|
|
|
00:06:40.070 --> 00:06:42.290
|
|
could call these speech
|
|
communities, a term
|
|
|
|
00:06:42.290 --> 00:06:44.920
|
|
with a separate but related
|
|
background and connotation,
|
|
|
|
00:06:44.920 --> 00:06:48.250
|
|
lacking a specific
|
|
emphasis on doing stuff,
|
|
|
|
00:06:48.250 --> 00:06:51.150
|
|
but with a similar insistence
|
|
that members share, quote,
|
|
|
|
00:06:51.150 --> 00:06:54.540
|
|
language ideology, beliefs
|
|
about language, identity,
|
|
|
|
00:06:54.540 --> 00:06:58.260
|
|
and membership, and attitudes
|
|
towards language use.
|
|
|
|
00:06:58.260 --> 00:07:01.230
|
|
Of course, people rarely
|
|
belong to just one community
|
|
|
|
00:07:01.230 --> 00:07:03.360
|
|
of practice or speech community.
|
|
|
|
00:07:03.360 --> 00:07:05.170
|
|
Like Settlers of
|
|
Catan, your alliances
|
|
|
|
00:07:05.170 --> 00:07:08.620
|
|
are always changing,
|
|
intensifying, attenuating,
|
|
|
|
00:07:08.620 --> 00:07:10.880
|
|
and with them, the
|
|
way you communicate.
|
|
|
|
00:07:10.880 --> 00:07:15.380
|
|
So maybe I talk more Tumblrish
|
|
on Tumblr and less Twitterese
|
|
|
|
00:07:15.380 --> 00:07:16.290
|
|
on Facebook.
|
|
|
|
00:07:16.290 --> 00:07:18.590
|
|
Maybe sometimes my
|
|
Something Awful or IRC days
|
|
|
|
00:07:18.590 --> 00:07:22.010
|
|
ring through when I want to
|
|
feel cool or let someone else
|
|
|
|
00:07:22.010 --> 00:07:24.030
|
|
know that I know what's up.
|
|
|
|
00:07:24.030 --> 00:07:26.270
|
|
And oh, on the original
|
|
topic of pronunciation,
|
|
|
|
00:07:26.270 --> 00:07:28.550
|
|
I am trying to adopt
|
|
the Idea Channel
|
|
|
|
00:07:28.550 --> 00:07:32.150
|
|
native pronunciation of
|
|
zhaif, because I do really
|
|
|
|
00:07:32.150 --> 00:07:32.822
|
|
want to fit in.
|
|
|
|
00:07:32.822 --> 00:07:33.780
|
|
What do you guys think?
|
|
|
|
00:07:33.780 --> 00:07:36.640
|
|
What are the recognizable speech
|
|
communities on the internet?
|
|
|
|
00:07:36.640 --> 00:07:40.640
|
|
And do their characteristics say
|
|
something about that community?
|
|
|
|
00:07:40.640 --> 00:07:41.950
|
|
Let us know in the comments.
|
|
|
|
00:07:41.950 --> 00:07:45.340
|
|
And unbeknownst to you
|
|
would ire turn o'er see,
|
|
|
|
00:07:45.340 --> 00:07:47.600
|
|
a nuncio would I return here.
|
|
|
|
00:07:47.600 --> 00:07:48.730
|
|
Subscribe.
|
|
|
|
00:07:48.730 --> 00:07:50.270
|
|
It doesn't actually
|
|
say subscribe.
|
|
|
|
00:07:50.270 --> 00:07:53.430
|
|
I added the subscribe
|
|
to "Finnegan's Wake."
|
|
|
|
00:07:53.430 --> 00:07:54.450
|
|
Sorry, Joyce.
|
|
|
|
00:07:54.450 --> 00:07:56.679
|
|
(SINGING) Do you want
|
|
to read some comments?
|
|
|
|
00:07:56.679 --> 00:07:58.720
|
|
Let's see what you guys
|
|
had to say about "Frozen"
|
|
|
|
00:07:58.720 --> 00:08:00.550
|
|
as a critique of fairy tales.
|
|
|
|
00:08:00.550 --> 00:08:02.230
|
|
yepimbatman makes
|
|
a really good point
|
|
|
|
00:08:02.230 --> 00:08:05.290
|
|
when they bring up "Shrek,"
|
|
which is a movie we did not
|
|
|
|
00:08:05.290 --> 00:08:06.097
|
|
spend any time on.
|
|
|
|
00:08:06.097 --> 00:08:07.680
|
|
And yes, that is a
|
|
complete oversight.
|
|
|
|
00:08:07.680 --> 00:08:10.830
|
|
I think I feel similarly to
|
|
how String.Epsilon feels,
|
|
|
|
00:08:10.830 --> 00:08:13.620
|
|
which is that "Shrek,"
|
|
to me, communicates
|
|
|
|
00:08:13.620 --> 00:08:16.840
|
|
a kind of parody, satire, maybe
|
|
even pastiche of fairy tales.
|
|
|
|
00:08:16.840 --> 00:08:21.150
|
|
But it's not nearly as much of
|
|
a kind of genre deconstruction
|
|
|
|
00:08:21.150 --> 00:08:23.360
|
|
as "Frozen" is.
|
|
|
|
00:08:23.360 --> 00:08:27.340
|
|
I mean, it does contain actual
|
|
elements from real fairy tales,
|
|
|
|
00:08:27.340 --> 00:08:31.670
|
|
but it seems much more like
|
|
a set of jokes relating to,
|
|
|
|
00:08:31.670 --> 00:08:36.600
|
|
as opposed to a dismantling
|
|
of, which-- yeah.
|
|
|
|
00:08:36.600 --> 00:08:37.100
|
|
Yeah.
|
|
|
|
00:08:37.100 --> 00:08:38.039
|
|
I think that's how I feel.
|
|
|
|
00:08:38.039 --> 00:08:39.980
|
|
Relatedly, Desiree
|
|
DeCosta brings up "Mulan"
|
|
|
|
00:08:39.980 --> 00:08:42.030
|
|
and "Brave" as
|
|
examples of movies
|
|
|
|
00:08:42.030 --> 00:08:44.250
|
|
that did things similar
|
|
to what "Frozen" has done,
|
|
|
|
00:08:44.250 --> 00:08:47.894
|
|
but didn't maybe receive
|
|
the same level of notoriety.
|
|
|
|
00:08:47.894 --> 00:08:49.310
|
|
And I totally agree
|
|
that these are
|
|
|
|
00:08:49.310 --> 00:08:51.840
|
|
movies that are super
|
|
important and have
|
|
|
|
00:08:51.840 --> 00:08:53.091
|
|
done cool and exciting things.
|
|
|
|
00:08:53.091 --> 00:08:54.506
|
|
But the reason
|
|
they didn't come up
|
|
|
|
00:08:54.506 --> 00:08:56.140
|
|
is because they
|
|
don't so much sit
|
|
|
|
00:08:56.140 --> 00:09:00.280
|
|
inside that genre
|
|
deconstruction idea--
|
|
|
|
00:09:00.280 --> 00:09:02.280
|
|
that "Mulan" is based
|
|
on a Chinese myth,
|
|
|
|
00:09:02.280 --> 00:09:04.530
|
|
"Brave" is a
|
|
totally new property
|
|
|
|
00:09:04.530 --> 00:09:06.370
|
|
that has its own
|
|
sort of reference
|
|
|
|
00:09:06.370 --> 00:09:07.620
|
|
to things that came before it.
|
|
|
|
00:09:07.620 --> 00:09:11.485
|
|
But I don't think that they
|
|
sort of relate to that,
|
|
|
|
00:09:11.485 --> 00:09:15.050
|
|
like we were talking about,
|
|
culturally ingrained kind
|
|
|
|
00:09:15.050 --> 00:09:17.880
|
|
of story nearly as much.
|
|
|
|
00:09:17.880 --> 00:09:19.610
|
|
nyihead and I are on
|
|
similar wavelengths
|
|
|
|
00:09:19.610 --> 00:09:23.870
|
|
in that what Terence Hawkes
|
|
says about the critic finalizing
|
|
|
|
00:09:23.870 --> 00:09:26.120
|
|
a work is true, but
|
|
that distinguishing
|
|
|
|
00:09:26.120 --> 00:09:28.140
|
|
between the
|
|
professionally-trained critic
|
|
|
|
00:09:28.140 --> 00:09:30.880
|
|
and the fan who is
|
|
critiquing things
|
|
|
|
00:09:30.880 --> 00:09:33.380
|
|
does stink of a
|
|
little bit of elitism.
|
|
|
|
00:09:33.380 --> 00:09:35.249
|
|
So yeah, I agree.
|
|
|
|
00:09:35.249 --> 00:09:37.040
|
|
Anna Robinson writes
|
|
a really great comment
|
|
|
|
00:09:37.040 --> 00:09:39.180
|
|
that maps the trajectory
|
|
of the Disney Renaissance
|
|
|
|
00:09:39.180 --> 00:09:42.050
|
|
to art history, and says
|
|
that their current period is
|
|
|
|
00:09:42.050 --> 00:09:45.950
|
|
something like the neoclassical
|
|
period of Disney fairy tales.
|
|
|
|
00:09:45.950 --> 00:09:47.500
|
|
And yeah, I really
|
|
love this idea.
|
|
|
|
00:09:47.500 --> 00:09:49.700
|
|
And this makes me
|
|
wonder how long is it
|
|
|
|
00:09:49.700 --> 00:09:55.150
|
|
going to take for us to get
|
|
to the Disney postmodern fairy
|
|
|
|
00:09:55.150 --> 00:09:56.150
|
|
tale period?
|
|
|
|
00:09:56.150 --> 00:09:59.715
|
|
And what is it
|
|
going to look like?
|
|
|
|
00:09:59.715 --> 00:10:04.460
|
|
I'm gonna like brain chew
|
|
on that for a little while.
|
|
|
|
00:10:04.460 --> 00:10:07.340
|
|
Disney and postmodern are two
|
|
things that I don't normally
|
|
|
|
00:10:07.340 --> 00:10:08.590
|
|
put together.
|
|
|
|
00:10:08.590 --> 00:10:11.190
|
|
Mikaele Baker writes a comment
|
|
about Strauss-Howe generational
|
|
|
|
00:10:11.190 --> 00:10:13.400
|
|
theory and how applying
|
|
those ideas to "Frozen"
|
|
|
|
00:10:13.400 --> 00:10:15.840
|
|
might not turn out perfectly.
|
|
|
|
00:10:15.840 --> 00:10:17.700
|
|
But it still could
|
|
provide some insight
|
|
|
|
00:10:17.700 --> 00:10:20.160
|
|
into how it works as a movie
|
|
and why it is so popular.
|
|
|
|
00:10:20.160 --> 00:10:23.930
|
|
And this comment is
|
|
just-- it is so good.
|
|
|
|
00:10:23.930 --> 00:10:26.472
|
|
I wish I could spend so much
|
|
more time talking about how
|
|
|
|
00:10:26.472 --> 00:10:27.680
|
|
good I think this comment is.
|
|
|
|
00:10:27.680 --> 00:10:29.346
|
|
But I can't, so you
|
|
should just read it.
|
|
|
|
00:10:29.346 --> 00:10:31.710
|
|
Links to this one and the
|
|
rest in the doobly-doo.
|
|
|
|
00:10:31.710 --> 00:10:35.770
|
|
Mikaele, awesome-- just awesome.
|
|
|
|
00:10:35.770 --> 00:10:37.640
|
|
This is why I do this--
|
|
comments like this.
|
|
|
|
00:10:37.640 --> 00:10:40.280
|
|
NKR178 writes that while
|
|
people critiquing "Frozen"
|
|
|
|
00:10:40.280 --> 00:10:44.260
|
|
might have realized the movie,
|
|
"Frozen" itself does not
|
|
|
|
00:10:44.260 --> 00:10:48.100
|
|
necessarily realize its
|
|
genre of fairy tale,
|
|
|
|
00:10:48.100 --> 00:10:51.510
|
|
and that because of its
|
|
ideological positioning,
|
|
|
|
00:10:51.510 --> 00:10:54.080
|
|
it can come across as
|
|
simply an attack on it
|
|
|
|
00:10:54.080 --> 00:10:57.759
|
|
and not a realization of genre.
|
|
|
|
00:10:57.759 --> 00:11:00.050
|
|
And I think this is a really
|
|
fair and important point--
|
|
|
|
00:11:00.050 --> 00:11:03.830
|
|
that every genre deconstruction
|
|
is not necessarily
|
|
|
|
00:11:03.830 --> 00:11:05.780
|
|
a realization of that genre.
|
|
|
|
00:11:05.780 --> 00:11:09.180
|
|
And the point might be to
|
|
actually deconstruct it,
|
|
|
|
00:11:09.180 --> 00:11:12.950
|
|
to do maybe even some kind of
|
|
violence to that genre, which
|
|
|
|
00:11:12.950 --> 00:11:16.140
|
|
can be good or bad, depending
|
|
upon your relationship
|
|
|
|
00:11:16.140 --> 00:11:19.340
|
|
to that genre or the work
|
|
you do in the deconstructing.
|
|
|
|
00:11:19.340 --> 00:11:21.180
|
|
But yeah, this was a
|
|
really great comment.
|
|
|
|
00:11:21.180 --> 00:11:23.096
|
|
Amy Kinsman writes a
|
|
really insightful comment
|
|
|
|
00:11:23.096 --> 00:11:24.560
|
|
about how "Frozen"
|
|
might actually
|
|
|
|
00:11:24.560 --> 00:11:28.170
|
|
create its own
|
|
critics-- that because
|
|
|
|
00:11:28.170 --> 00:11:32.010
|
|
of what it does with its genre,
|
|
it will implant in the audience
|
|
|
|
00:11:32.010 --> 00:11:34.870
|
|
a tendency to be critical
|
|
of it, and then draws
|
|
|
|
00:11:34.870 --> 00:11:37.040
|
|
a really awesome connection
|
|
to Bioshock Infinite,
|
|
|
|
00:11:37.040 --> 00:11:40.800
|
|
right, which is a game that
|
|
really encouraged the players
|
|
|
|
00:11:40.800 --> 00:11:42.580
|
|
to look critically
|
|
at what was being
|
|
|
|
00:11:42.580 --> 00:11:45.020
|
|
asked of them in the game.
|
|
|
|
00:11:45.020 --> 00:11:47.760
|
|
And by extension,
|
|
maybe other games.
|
|
|
|
00:11:47.760 --> 00:11:50.140
|
|
So yeah, this is-- I did not
|
|
even make that connection.
|
|
|
|
00:11:50.140 --> 00:11:51.750
|
|
And that's really awesome.
|
|
|
|
00:11:51.750 --> 00:11:53.833
|
|
(SINGING) The fact that I
|
|
don't read your comments
|
|
|
|
00:11:53.833 --> 00:11:58.590
|
|
shouldn't bother you anyway,
|
|
because there's a lot of them.
|
|
|
|
00:11:58.590 --> 00:12:01.800
|
|
At this point, it's basically
|
|
like winning the lottery.
|
|
|
|
00:12:01.800 --> 00:12:03.607
|
|
Thank you for writing
|
|
this one, though.
|
|
|
|
00:12:03.607 --> 00:12:05.190
|
|
This week's episode
|
|
was brought to you
|
|
|
|
00:12:05.190 --> 00:12:07.820
|
|
by the hard work of these
|
|
people, who say "bubbler"
|
|
|
|
00:12:07.820 --> 00:12:09.320
|
|
instead of "water fountain."
|
|
|
|
00:12:09.320 --> 00:12:11.820
|
|
We have a Facebook, an IRC,
|
|
and a subreddit-- links
|
|
|
|
00:12:11.820 --> 00:12:13.290
|
|
in the doobly-doo.
|
|
|
|
00:12:13.290 --> 00:12:15.550
|
|
There are two
|
|
things of the week.
|
|
|
|
00:12:15.550 --> 00:12:17.400
|
|
A tweet from @enochobus
|
|
who points us
|
|
|
|
00:12:17.400 --> 00:12:19.840
|
|
towards a Wired article
|
|
about an Instagram
|
|
|
|
00:12:19.840 --> 00:12:22.680
|
|
account that posts
|
|
only amazing looking
|
|
|
|
00:12:22.680 --> 00:12:25.490
|
|
glitches that are so
|
|
cool, and a post on Tumblr
|
|
|
|
00:12:25.490 --> 00:12:30.800
|
|
from therisingtides about how
|
|
criticism in the age of Tumblr
|
|
|
|
00:12:30.800 --> 00:12:34.320
|
|
is becoming much easier
|
|
and is somehow contributing
|
|
|
|
00:12:34.320 --> 00:12:37.376
|
|
to the popularity of things.
|
|
|
|
00:12:37.376 --> 00:12:38.750
|
|
It's very good,
|
|
very interesting.
|
|
|
|
00:12:38.750 --> 00:12:39.541
|
|
You should read it.
|
|
|
|
00:12:48.267 --> 00:12:49.850
|
|
And for this week's
|
|
record swap, we're
|
|
|
|
00:12:49.850 --> 00:12:51.600
|
|
going to be replacing
|
|
Jack Elliott singing
|
|
|
|
00:12:51.600 --> 00:13:04.075
|
|
the songs of Woody Guthrie
|
|
with Okkyung Lee's "Ghil."
|
|
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00:13:04.075 --> 00:13:06.420
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I really wish you
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could see that better.
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00:13:06.420 --> 00:13:08.260
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Well, adios, Jack Elliott.
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00:13:08.260 --> 00:13:12.050
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Welcome, Okkung Lee.
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