Friday, December 16, 2011

KaoHsiung International Airport

In an attempt to document all of the traveling I do, especially in light of my research, I'm going to start blogging about connectivity at various airports, and other time-related stuff. Boring, I know, to most people, so just ignore this.

I'm currently sitting in the KaoHsiung Airport waiting for my flight to Hong Kong. I think there is only one terminal, but I found a great wifi spot - it's right outside of the Ever Rich Duty Free store, and all it takes is a one-push button "log in" to access wifi. The connection speed is not bad either. There are some numbered "AIRPORT" wifi networks - I think over 10 - I haven't had a chance to encounter all of them, but their connection speed seems even faster than the Ever Rich one (although it felt sluggish when I was on my iPhone).

BTW if anyone knows exactly what a website like speedtest.net measures, I'm all ears.

Thursday, November 10, 2011

Bizarre Gaga video

This video of old folks dancing to Lady Gaga's Bad Romance has gotten a lot of circulation on the interwebs, and has been made fun of a lot. I'll spare you the expected rants about Othering Asians by making fun of them, although I think that is a pervading element of it - by not understanding, it is easier to make fun, and make inferior another racial/ethnic group. Blah blah.

My good friend, Dawen, suggests that "ga ga" might be a way to say "elder" in some form of Chinese dialect, and that the song itself is nowhere near a direct translation of Lady Gaga's song, and the song might be some sort of elder people showing of solidarity through song, a common commiseration. Why don't my kids pay attention to me? Poignant?

Thursday, July 28, 2011

Fwd: Telecommute Nation: If Half of Us Could Work Remotely, Why Don't We?



************
Sent from Cynthia Wang's iPhone

Begin forwarded message:

From: Larry Gross <lpgross@usc.edu>
Date: July 27, 2011 10:58:44 AM GMT+08:00
To: "' (LARRYLIST-L@usc.edu)'" <LARRYLIST-L@usc.edu>, "'Sept11 List'"@listproc.usc.edu
Cc: DnD <DnD@asc.usc.edu>
Subject: Telecommute Nation: If Half of Us Could Work Remotely, Why Don't We?
Reply-To: lpgross@usc.edu

 

Telecommute Nation: If Half of Us Could Work Remotely, Why Don't We?

By Derek Thompson

More than 34 million people -- equal to the population of Texas and Pennsylvania combined -- work from home occasionally. Twice as many could if they wanted. In the next few years, maybe they will.

You know, this would be a good day to work from home. The heat index is 114 degrees today in Washington, D.C. I have to walk half-an-hour to and from work to an office with no better Internet than my living room. Everything I need to write I can fit into a laptop bag, or on a couch.

So why am I writing this article from the desk at The Atlantic's office?

***

Telecommuting, or working from home, is one of those trends that most people talk about as much in the future tense as the present. Only one in twenty formally employed Americans works consistently from home, but the fact that so many of us could work fills demographers' eyes with visions of empty cubicles and broadband-blazing living rooms.

Fully 75% of the workforce will be mobile by 2012, the research firm IDC predicted in 2008. Not to be outdone, the Information Technology & Innovation Foundation predicted in 2009 that the number of jobs filled by telecommuters would grow nearly four-fold before 2020. Other studies hold that half of all jobs are receptive to telework, including the vast majority of information technology positions.

That's a lot of stats. In a nutshell: Half of us could work remotely if we wanted. Far less do. Why?

Even if we're technically more productive at home, we feel more conspicuously productive at work.

The answer might have more to do with psychology than economics. Even if we're technically more productive at home, we feel more conspicuously productive at work. You might think a recession would lead to more telecommuting since it reduces overhead and increases work hours. Instead, telework among the formally employed has slowed in the last three years. Ted Schadler, a telecommuting expert who is vice president and chief analyst at Forrester Research, suggests the answer might be psychological.

"Some bosses think if they can't see you working, you're not working," he says. "If you're worried about losing your job, you're going to come into the office every chance you get."

For me, it comes down to people. The best social technology increases social connections. Facebook keeps us in touch with far-flung friends. Twitter broadcasts our internal monologues to the world. Email, texts, and phones keep us connected even when we're remote. But none of these things forces us to not be with real live people.

Telecommuting is a choice to be alone. It reduces connections between workers. It removes us from the world of work and makes it indistinguishable from the period before and after, which we could simple call life.

***

Still, telework has clear benefits. For the employer, it can save office space, utilities and overhead for employee services. From the worker, it creates more hours for life or desk work. It reduces travel costs. It has external benefits, like less traffic and quicker travel for commuters. We talk a lot about building more efficient public transportation, but the most efficient public transportation is the technology that lets you work from where you sleep.

Telecommuting is a choice to be alone.

Widespread adoption of telework requires three things, Schadler tells me. First, you need to work in the right industry. The growth of high-tech information technology jobs should lead to a growth in telecommuting, which would allow employers to hire the best workers in Florida or Oregon. Within industries, management culture matters. "In pharma sales, everybody works at home," he says. "In pharma marketing, everybody works in the office."

Second, to make remote working really work, you need performance metrics, because bosses can't manage what they can't measure. "If employers could measure output [posts per day, tasks per week, etc] they don't care where you work, or how long you work, as long as you produce the output," Schadler says.

The third factor is the most important and the hardest to quantify: it's personal motivation. I could have called Ted and written these paragraphs from my couch, or the coffee shop across the street from my apartment. Instead, I chose to walk 15 minutes through the tropical heat because ... well, I like my colleagues. I like my desk. I like that it is not the same table where I eat dinner and find funny YouTube videos with my roommates. If telework increases work-time and "life"-time, it does so at the expense of a work-life balance.

Tens of millions of Americans obviously disagree. If you're one of them, leave a note in the comments section. Why do you prefer to work without "coming in to work"?

This article available online at:

http://www.theatlantic.com/business/archive/2011/07/telecommute-nation-if-half-of-us-could-work-remotely-why-dont-we/242382/

Copyright © 2011 by The Atlantic Monthly Group. All Rights Reserved.

 

 

************************************************

Larry Gross

Professor and Director

School of Communication

Annenberg School for Communication & Journalism

University of Southern California

Los Angeles, CA 90089

213-740-3770

 

Editor, International Journal of Communication

President, International Communication Association, 2011-12

************************************************

 

Monday, July 11, 2011

Summer in Asia quick update

You know the Knight Bus from Harry Potter? Well, the buses here are like that. We just got back from Kawasan Falls last night - it was a 3.5 hour trip there, and another 3.5 hour trip back, and we took a public bus. This bus isn't huge, but it isn't small and agile either, by any sense of the words. I mean, it's a bus. But the road can be completely blocked, and this huge bus will still find a way to get where it needs to be.


Wait, I figured, I should probably blog about our entire Kawasan trip. Or well, my Whac-a-Mole Where-in-the-World-is-Cynthia-going-to-turn-up-next travels thus far.


I've been traveling almost non-stop since July 3rd, where I left NYC and flew to LA, spending about 40 hours there and fitting in a dinner and a brunch (at Doughboys -delicious stuff), and an almost-complete episode of the Bachelorette (we HAD to see what Bentley had to say when he met up with Ashley in HK!) before hopping on a plane to HK. After a rather painless 14 hours, I landed in HK very early in the morn, where I missed the first bus back home, resulting in my poor mom waiting aimlessly for about 40 minutes outside the MTR station where our apartment is.


Upon arriving at home, after lamenting my weight loss since she last saw me, Mama took me to dimsum, where we gorged ourselves with discounted HK breakfast goodies. The next 40 hours or so were laying around lazily and repacking for Cebu, and meeting up with Phong, who I’m apparently chasing around the world (we had met in LA, had dinner in NYC, and now lunch in HK).


Let’s get onto Cebu, because that’s probably more interesting than HK. I was under the impression that my flight was at 1:35pm, because the flight itself was only about 2.5 hours, and my ticket said departure at 0135H, arriving at 0410H. It wasn’t until about a week ago that I looked at the ticket again, and my return flight departs at 2250H. Hrm, I thought. Is this on MILITARY TIME? Yes, indeed, it is. I was going to be leaving at 1:35AM, not PM…and this is their idea of a red-eye flight. WTF.


I whiz thru customs, and Roselynne meets me at 4am right outside the airport entrance. I’ll save you all the sap and mush (unless you really like oatmeal with maple syrup, in which case, ask me privately), but let’s just say seeing her was much needed. Slept for a few hours before she had to get up to go to class. I slept for most of the day, and immediately the next day, we headed to Kawasan Falls for the weekend. The traveling just doesn't stop. Kawasan was amazing, but I'm very happy to be home and still for a while.


So, I'm chilling in the apartment now while she learns some sort of choreographed dance. I've only gotten two mosquito bites so far, but bracing myself for more...

Sunday, July 10, 2011

Soreness and Waterfalls

R was laughing at me earlier because I was writhing around in pain from lactic acid buildup in my left leg from hiking and swimming this weekend. Laughing, because she knew exactly what it was, it wasn't life-threatening, and there was nothing either of us could to do make it better. Only time. I'm still limping all over the place.

This weekend was amazing. We (me, R, her cousins, and her friend Maricar and Maricar's friend Joper) hopped on a non-ACed overly-bumpy public bus and rode it to Kawasan Falls. I'm not even sure how to describe it. A resort? A national park? Something like that. Basically, there are 8 or so levels of waterfalls. We stayed in a rather spacious room at Level 1 (the lowest), but hiked up to Level 3 and went swimming in the pool there. Waterfalls everywhere. We also didn't bring swimsuits, so not only did I do some pretty adventurous hiking in flip flops, I also braved waterfalls and fish and iguanas (more on this later) in regular clothes. Long story short, though, lots of activity = lots of soreness = pain right now.

Friday, July 08, 2011

Maximum Punishment, and a new country

Have you noticed those signs that prevent you from doing something? Like smoking or littering? And how they always come with a "maximum punishment"? For example, if you smoke in the airplane lavatory, you'll be fined a few thousand dollars, and possibly spend a maximum of 2 years in prison. I often wondered about why the signs attempt to make would-be criminals feel better about committing the crime. It's almost like saying, "Oh, you can go ahead and commit this crime because the WORST that can happen to you is so and so." Shouldn't the signs be more scary in order to better deter people from doing that which the establishment does not want them to do? Like, "if you smoke in the lavatory, you will be fined a MINIMUM of $200 and do 30 hours of community service."

Anyway. In the Philippines now. Yes, that means I have a Philippines stamp in my passport! Booyah! Oh, I mean, I get to see my girl. Booyah as well. :)

It is hot here (but not overwhelmingly so) and there's an...odor...in the air. And I took one of the very few cold showers I ever have in my life. R says I'm spoiled. I don't disagree. Actually, it's not even a shower. You have to fill up this bucket, which R humorously calls "The Reservoir" and pour water over yourself in order to bath. And in true Asian form, the shower part itself isn't separate from the rest of the bathroom, so the entire bathroom gets wet in the process. Let's just say, for me, a person of much creature comforts, this is a humbling experience.

Everyone's a germaphobe here. There are sinks in the restaurants (not even in the bathroom area) to wash your hands before and after a meal. Otherwise, Cebu feels a lot like many of the Asian cities I have been to, possibly with the exception of Hong Kong, because Hong Kong is....a different experience altogether. But it feels a lot like Taiwan and parts of China. And most everyone speaks English, although R isn't letting me wander the city on my own. Yet. I'm convinced that she can be persuaded...there's a fort and other touristy-type sites I want to visit if I can...

Ok, more about this later. It's time for a nap.

Wednesday, May 04, 2011

哈哈!

My mom sent this one to me. Hilarious. Harry Potter versus 金庸. I'm not quite sure who won...

一位中年人問年輕人:「你有看過金庸的小說嗎?」 年輕人說:「沒有,只有看過

電視劇。」


中年人說:「那你知道金庸寫的14部小說的書名的第一個字,串起來會成為一首詩:


『飛雪連天射白鹿,笑書神俠倚碧鴛』嗎?」

年輕人說:「嗯…不知道,但是我有看羅琳(哈利波特作者)的小說,你知道這七本
小說書名的第一個字串起來是 什麼嗎?」





中年人:嗯… 不知道耶


.
.
.
.
.
.




年輕人:哦,她寫的七本小說書名的第一個字串起來是 『哈哈哈哈哈哈哈』!

Tuesday, April 26, 2011

grad school = death to thinking?

I've been procrastinating on writing this paper and reading old xanga entries. And I had good thoughts! Good questions! Like this one:

I've been thinking about this concept of heaven, and eternal happiness, and all that. And I have some questions.

First off, if I ever get to heaven, how old am I going to be, for eternity? If I see my grandparents, my great grandparents, how old will they be?

Secondly, scenerio: I am deeply in love with someone. A live-by-this-person, die-by-this-person sort of love. And this person dies in a freak accident. My world is crushed, but I live on. And I eventually meet someone else, with whom I fall deeply in love, and spend the rest of my life with, but I am still in love with person #1. Who am I going to spend eternal paradise with - my first true love, or the true love that I spent my whole life with?

How does it work?


>>>>

That's a good question, right?? I mean, and now, in grad school, all of my questions are like "what are the hegemonic implications of the totalitarian system under which our government idealizes certain values and norms by which all individuals within the system must function?" or something like that?

underpass on the 5 North

Driving along the 5 North one night through the short tunnel just north of the 118, I drive past an 18-wheeler, and as I do, he taps his horn. I was a bit taken aback, since I was in my lane, and he was in his. But then I was told that honking in that underpass is a strange cultural thing. During rush hour, if one person honks, other people would join in and honk, making a veritable sonic cacophony in celebration of, uh, traffic.

Sunday, April 24, 2011

a love story, of sorts

There have been a few people who have asked about my new guitar, so I thought I'd write an ode here to her (yes, after long last, one of my guitars is finally a "her"). So here goes. BTW, G-rated, this is not. Proceed with caution.

There were probably a million better things I could be doing with my time that afternoon. But into Guitar Center I strolled. And after visiting the usual suspects and old friends, the Martin OMC Aura, the Martin 16 series, the Taylor GA8 and 600 series, my eyes fell on an unbranded guitar - one that looked a bit unique. At first glance, I thought, "That's a pretty guitar." It took a closer examination to see that the guitar was fully rosewood. Including the top, which is very rare. In any case, she caught my attention, so I approached her.

At first, though, I didn't really give her the benefit of the doubt. Just casually ran my finger across her strings - I didn't even bother removing her from the guitar stand. Not a bad sound. A certain warmth, definitely, probably due to the rosewood top. "But there are tons more like it," I thought. And didn't really give her another thought. Moreover, I couldn't really gauge how she sounded through the cacophony of everyone else playing and testing out instruments. Finally, as the afternoon wore on, people left, and I found myself alone with her. So I finally picked her up off the stand, held her in my arms, and this time, I listened.

Although there was an undeniable connection going on here, I wasn't sure I wanted to invest in a new guitar at the moment. So I let things be for a while. But I kept going back, and occasionally, I’d see other people picking her up and playing her. And I would too. I was slowly moved. She somehow got under my skin, and weaseled her way into my heart.

Finally, I took her home with me. Then, deep in the dark recesses of nighttime, I explored her. With each pluck, each stroke, each caress, she makes a different sound. I feel like I could spend forever touching her just to see how I can illicit different reactions. Soft, hard, strumming, plucking, slapping, hammering... with each touch, she reveals more to me, more depth, more overtones, more shades and layers. She unravels me with her beauty, both inside and out. With every touch and every glance, with every breath, I want more. I can't get close enough to her. In the dark of the night, I make her sing.

I’m so in love with her.

Wednesday, April 13, 2011

Stokes response

I appreciate Stokes bringing up the critical questions of globalization - who does it benefit, etc, and recognizing the problems with being too idealistic. This power struggle does not just apply to music, as Stokes acknowledges, but to all cultural and political aspects of a global society.

The idea of globalization in terms of music is an interesting one, and often in conflict, I feel, because music is so cultural. It’s defined culturally, and the emotions one feels is not universal - it is culturally specific.

The dichotomies Stokes brings up (on page 50) between top-down and bottom-up, system and agency, global and local, etc seems to be tensions that happen in culture in general. To me, it always seems to be a question or power and appropriation, of maintaining power or subverting that power. And Stokes acknowledges this. For example, the fact that we use the term “World Music” I think says volumes about how we look at music from non-Western cultures. World music used to be a term used for anything that was outside the genres of rock, classical, pop, and country (or something like that), and encompasses everything non-Western. It seems to be a term that throws a homogenizing blanket over all things Other.

The point Stokes brings up here: “European and North American rock and pop superstars are prominent in charts, music stores, and cassette stands across much of the third world; the reverse is not true,” (pg. 55) exemplifies the cultural imperialism, or power difference between the powerful West and others. It is an example I tend to use a lot while talking about the phenomenon of Asian kids playing classical music . Why, I tend to ask, are Asian kids playing music written by dead, white, European men? We don’t ever see Europeans or Americans playing classical Chinese music on Eastern instruments. We’d be hard-pressed to find an American who can name two or three traditional Chinese instruments.

It is infuriating, as well, how copyright law and the economics of the music industry exploit ethnic music, like the example of the Taiwanese aboriginal groups’s CD release in France. It seems as though the industry, the music, art, culture are forever framed in an economic box. Copyright law, the idea that ideas are possession and hence can be traded for economic gain, is a decidedly Western and capitalistic mentality, and yet non-Western societies need to play the capitalistic game in order to survive in a global society, get they continue to get screwed over. Copyright laws don’t protect those that it wasn’t written for.

I always feel like the idea of hybridity is just a way for cultures in power (read: Western, white) to feel like they’re diverse. Like eastern medicine being used in addition to Western medicine as hybrid treatment, if it’s explicitly NOT Western, it has almost this exoticism to it - exoticism that has the potential to sell -- even when we steal things from non-Western cultures all the time (in music) and never allow those from whom we steal to benefit economically (like African beats that are transported to the West, then copyrighted by some Western artist, and Africa never sees a cent of royalty fees).

Stokes’ discussion of Monson brings to mind the fact that music is used differently in different cultures. Certain tribes in Africa use drumming as a form of communication across distances. Other cultures use songs to tell stories, in rituals. It seems like only in Western cultures is music so commercialized that every song, every musical note has a price tag attached to it. And the question becomes, then, in our capitalistic framework, how do we empower other cultures’ music as we incorporate or appropriate them, or bring visibility to them? Is that even possible, with the cultural hegemony of the West? Or is it better to keep music localized and hence, authentic, without losing its meaning by bringing it across cultural boundaries?

Religion is like a penis

From LarryList...

 

Monday, April 11, 2011

Diz again

I can't stand Disneyland's totalitarian ideology. My goodness. Even the roller coaster has a soundtrack that runs for the entire ride, then concludes when the ride stops, and it's so loud as to seek to drown out the sound of the car on the track. It's deafening. It's like, Disney really doesn't want you to hear anything other than what they want you to hear, or what they produce.

My friend tried to bring her ukulele into the park once, to play it while waiting in line (and possibly entertain the people around her), and the park officials told her she was not allowed to bring it into the park. Disney clearly did not want anything other than their own musical sounds inside the park.

Which, then, begs the question why they don't ban singing (obviously, it's harder to ban singing...).

Yesterday night, my friends and I watched World of Color twice - once from the front - or, how you're supposed to watch it. And then once from the back. Watching it from the back was really illuminating (pun not intended). When the water screen comes up, there is a distinct "pffft" sound of the water starting. You hear the unproduced sounds a lot better behind the scene - the machinery and the water dropping into the lagoon - and the produced sounds are muffled because all of the speakers are pointing in the other direction. A very VERY different sonic experience.

Thursday, April 07, 2011

quick response to Hsu

I just have to make a quick response to Hsu's piece. It dangerously seems to be talking about post-racial society...and if you read a bit of Kent Ono, you'll see why this is...problematic. Hsu feels too idealistic - quoting Carter talking about crossing a bridge, "defining ourselves by lifestyle rather than skin color." It disregards the history. I have discussions about this all the time - of reverse racism, with various people - and we question whether reverse racism can really exist (yes, of course it can), but whether that racism is the same sort of oppressive racism that was put upon people of color all throughout history (no, it's not).

There is a history of white hegemony and Western imperialism that can't simply be erased because we have Obama in office, which seems to be what Hsu is trying to at least make us think about. And whereas I appreciate Hsu bringing this into the conversation - the possibility of a post-racial world, one in which white people are culturally bankrupt (really? REALLY? have you taken a look at those things that make up "culture" in our society? Asian kids still play classical music written by mostly dead, white, European men -- why??), we have to remember to not disregard the history of oppression and white superiority that has ruled our modern world by being blinded with the idea of a harmonious, almost bohemian-esque, kumbaya "we are beyond race" mentality.

Wednesday, April 06, 2011

Jay-Z Decoded

So, before I started the readings for this week, I had to google the difference between hip hop and rap. Turns out, hip hop is a culture, while rap is simply the style of music. And, honestly, the only rap I had ever listened to before was Eminem. So, this was yet another week of music I am completely unfamiliar with. I love it. I’ve been listening to and reading Decoded, reading the lyrics as I listen to the audio track that Ryan gave us (so helpful, THANK YOU). And for me, it’s like reading Shakespeare. Hip hop music is constructed in a kind of syntax and structure that I am just not fluent in. Thank goodness for the footnotes that Jay-Z includes. It’s like Shakespeare in that it’s definitely English, but English in a way that I have to, well, decode. Perhaps this is the beauty of hip hop - the realness of the struggles for this group of people.

Decoded is a look into the songwriter’s head. We thus far have not had many readings that dealt with the “artistic” side of music, and how a musician synthesizes the songs he writes (although Suisman’s book does talk a little about it -- generally with the perception that music is driven mostly by economics). But Decoded takes us through one artist’s thought process, then the finished product.

Another thing that crossed my mind while reading Decoded was the fact that the names were, well, not conventional. It is almost as if they internalize a performative aspect to their lives, and change their name to one that is performative for music purposes (and possibly others). And, they reference real names in songs. Jay-Z does it himself, and references other people like Bleek (in Coming of Age). This sort of self-referencing and referencing real people in their lives gives the music an autobiographical feel (as fiction as sometimes Jay-Z would like us to believe). In fact, the whole book is a combination of Jay-Z’s story, and the intersection of that story with his art.

Decoded often veers into poignancy, as for example, when Jay-Z talks about being invisible. In Larry’s class today, we were just talking about the erasure of certain cultures and races in America. Jay-Z is very aware of this, and it is as if rap is a way to make the stories that the Powers That Be want to keep invisible visible. It is a side of America that was supposed to stay buried, yet didn’t. His discussion of the hip hop police depicts a scene almost like a battle - Althusser’s Ideological State Apparatuses - the police, whose job is to uphold the ideology and image of the America that is supposed to be, battling the subversive forces that find power from the bottom up.

This week seems to follow the theme of race and genre in music. The fact that hip hop is tied closely to black culture leads me to think about the questions we encountered during our discussions of narcocorridos and ragtime, and the segregation of race into genres. Rap and hip hop seems the modern day separation of race and genre. Jay-Z talks about the Beasties and Eminem, and makes the statement “Hip-hop gave a generation a common ground that didn’t require either race to lose anything.” (Jay-Z, 180). Perhaps they didn’t lose anything, but the genre itself is still entrenched in power struggles, and I can’t help wonder if white people doing hip hop is tainted with re-appropriation of an art form that they can perform and hence, control. There are white rappers. Other than Darius Rucker, have there been any other non-white country singer star? Does it work the other way? I feel Jay-Z may be a bit too idealistic in that statement. But overall, he leaves us with the message to listen, with our minds and hearts open, and perhaps in this way, we can start understanding other cultures and continue the conversation.

Grammys cutting categories