Got some nice cover art from Erik Evans of Bottle Rocket Productions. Now, need artist(s) interested in illustrating thee body of the story. Check out the info. below then get in touch.
! ZAPPED !
! Zapped ! is the story of a man called to a quest by the sudden (or as he discovers not-so-sudden) onset of a serious and disturbing disease. Unbeknownst to him, he is called not to recover what he has lost but to transform his life and himself. His journey takes him into unknown territories of alternative healing, spiritual practice, interspecies relationships, spirit possession, and the hidden depths of his own internal life.
The story is told through three intertwining narrative threads:
- Cleo’s story –- told from the point of view of the protagonist’s wife’s dog.
- The protagonist’s story.
- The running commentary of two members of the Watcher Bureau, keepers of the collective unconscious, charged with recording stories of the human condition
Author Bio: Jeffrey Callen is a writer based in San Francisco whose work is rooted in the belief that an authentic story opens up a space of connection that creates the basis for understanding, communication and effective action. He is also a creative writer, published poet and cultural analyst. His writing on popular culture appears in scholarly and popular publications. He received an MA in Music from UC Santa Barbara and a Ph.D. in Ethnomusicology from UCLA.
CALL FOR ARTISTS: I am looking for one or more artists to work with on this project. Each narrative thread is intended to have a distinct visual image. I have imagined Cleo’s story as having a manga look; the protagonist’s story with the look of a Hernandez brothers (Love & Rockets) story; and, a film noir presentation of the Watcher Bureau. However, I am more interested in ideas that occur to potential collaborators. If you are interested in learning more about this project, please contact me at firstname.lastname@example.org or here at Deciphering Culture.
The WordPress.com stats helper monkeys prepared a 2013 annual report for this blog.
Here’s an excerpt:
A New York City subway train holds 1,200 people. This blog was viewed about 4,500 times in 2013. If it were a NYC subway train, it would take about 4 trips to carry that many people.
Earlier this year, I wrote a short piece for the print newsletter of Earthfire Institute Wildlife Sanctuary and Retreat Center on the increased recognition of storytelling as a valuable methodology whose use is no longer limited to communication and marketing. I’m posting it on Deciphering Culture in hopes that the ideas contained in it get broader distribution and, hopefully, inspire dialogue. If it also introduces some people to the amazing work of Earthfire Institute, all the better.
DATA ADDS UP, STORIES RING TRUE
by Jeffrey Callen
During the last decade, storytelling has been enthusiastically embraced as a methodological framework by individuals working in endeavors as different from each other as technology, journalism, and social activism. Storytelling is no longer confined to the realms of communications and marketing but is seen as integral to the creation of “product” (now often reconceptualized and relabeled as “experience”). In the design process, calculations and quantifiable arguments are replaced by the creation of evocative experiences—the bottom line is no longer how the data adds up but whether the story rings true.
This change in methodologies implies a changing vision of the work itself. Unlike quantifiable methodologies, storytelling is an art and, like other art forms, its primary goal is to create a space of connection outside the flow of everyday life. In this “virtual” space, new possibilities (ideas, strategies, visions) and ways of being in the world can be tried on and experimented with that previously had only been imagined or, at best, partially realized. The criteria by which this experience is evaluated is the extent to which it rings true, authentic and genuine— it is also the primary determinant of the effect the experience has on the participants. The best contemporary uses of storytelling apply this template which hearkens back to the beginnings of human society.
Nearly as old as music, dance and drawing, early forms of oral storytelling were shared in settings of fellowship that transcended later boundaries created between the realms of spirituality, healing, philosophy, history–keeping, and entertainment. The same respectful disregard of disciplinary boundaries is a component of the storytelling work of Earthfire Institute. It is one of the many ways in which it returns to the roots of storytelling. Storytelling is an integral component of the work of Earthfire Institute. It is more than its chosen means of communicating the ideas and values that drive its mission to reintegrate humans into nature. Through stories, Earthfire experiences are shared and intimate, often transformational, human/animal interactions are evoked, creating a space of connection with the listener/viewer (one of the advantages of storytelling in the postmodern age is the easy availability of integrated presentations of sight, sound and movement). In each online video or blog post, more is communicated than is contained in the outlines of a single story. Each story adds to the totality of Earthfire Institute’s work and it is here that Earthfire presents its vision of a possible future in which man’s (and woman’s) connection to the natural world is restored.
Jeffrey Callen is a storyteller and ethnographer based in San Francisco. As a consultant, he has advised Earthfire Institute on storytelling and strategic development. He is also a cultural analyst and creative writer, whose work has appeared in numerous scholarly and popular publications.
JOURNALIST AND HOBA HOBA SPIRIT GUITARIST, SINGER AND SONGWRITER TALKS THE BUSINESS OF MUSIC IN MOROCCO
By MTV Iggy
October 10, 2012
Words by Jeffrey Callen, Ph. D.
Hoba Hoba Spirit was there when an alternative music scene came together in Casablanca in the late 1990s. They were there on the front lines of the protests after 14 heavy-metal musicians and fans were arrested and accused of being satanists in 2003. Creating distinctively Moroccan rock ‘n’ roll (with lyrics in French, Darija and English, and music infused with healthy doses of Gnawa music, reggae & Moroccan rhythms), many critics and supporters considered them too hip to ever be popular outside of Casablanca. Playing wherever they could get a gig, they introduced the live experience of rock ‘n roll to audiences in small cities and villages throughout Morocco and, by 2007, they had become one of the most popular Moroccan musical acts of any genre. More than any other alternative band, Hoba Hoba Spirit has advocated an opening of the Moroccan cultural landscape—through music and through the writing of bandleader and journalist Reda Allali in the magazine Telquel. In a far-ranging interview, Allali talks with ethnomusicologist Jeffrey Callen about the Hoba way, their unexpected road to success, the alternative music movement and the obstacles to making a living as a musician in Morocco.
(to read the rest, click here)
By MTV Iggy
September 27, 2012
Words by Jeffrey Callen, Ph. D. Photo by Nusrat Durrani.
The driving rhythm of the qraqebs (large metal hand cymbals) quickly envelop the listener, creating a sonic wall that simultaneously supports and obscures the bass pattern provided by the hajhouj (bass lute). In a healing context — and this is healing music — the afflicted individual must find his way to a particular melody provided by the hajhouj in order to enter into a dialogue with the spirit that is perplexing him or her. Sung invocations, particular colors and incense hasten the summoning of the spirit and the falling of the afflicted individual into the trance state where the healing takes place. A lila(all-night healing ceremony) is a multi-sensual event but it is the music that drives it, orchestrates its highs and lows, and signals the entry of the different spirits. This is the music of the Gnawa of Morocco and you can hear — and feel — the kinship with musical/healing practices, such as Santeria(Cuba) and Candomble (Brazil), that while born in the Americas, have clear West African roots. You can also feel the kinship with other tributaries of the West African musical river—rock, blues, jazz, reggae and numerous other pop musics—that were born in the Americas but have since spread throughout the world.
(to read the rest, click here)