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Living Knowledge – No 6, July 2005
ISSN 1613-2270 LivingLiving No. 6 - July 2005 KnowledgeKnowledge International Journal of Community Based Research Science and Citizen Participation The Science Communication Escalator Fruitful Interplay: Science and Theatre Universities and Civic Participation Living Knowledge The International Science Shop Network Contents | Editorial Around the World Contents Editorial he fl ow of expert knowledge is undergoing Focus: Science and Ciitizen Participation Trapid change. As information highways are constructed around the globe, new questions about ethics, goals and economics must be an- swered. Science communication addresses theo- The Science Communication retical and pragmatic questions central to many Escalator of today‘s debates. But also the involvement of civil society Every type of knowledge needs its and citizens in policy deliberation and decision-making proc- specifi c way of communication. At the esses relating to scientifi c and technical issues has undergone moment there is no blueprint for the communication be- signifi cant and also highly heterogeneous changes in European tween scientists and society. Ann Van der Auweraert from countries. Ways of involving civil society and empowering the Antwerp describes a model of a ‘science communication community have been very diverse, ranging from social mobi- escalator’, based on the ‘risk communication escalator’ by lisations, the development of associations, Science Shops and Ortwin Renn. » 5 NGOs, to the introduction of formal participatory procedures in decision-making settings. The fact that Science Shops respond to civil society’s needs for expertise and knowledge is a key element that distinguishes them from other knowledge transfer mechanisms. However, many Fruitful Interplay: Science and initiatives are similar to Science Shops and do the same type of Theatre work. -
Dr. Albert W. Johnson June 29-30, 2009 Interviewed by Susan Resnik for San Diego State University 208 Minutes of Recording Total PART 1 of 3 PARTS
Dr. Albert W. Johnson June 29-30, 2009 interviewed by Susan Resnik for San Diego State University 208 minutes of recording total PART 1 OF 3 PARTS SUSAN RESNIK: This is Susan Resnik. Today is June 29, 2009. I’m in the lovely home of Dr. Albert W. Johnson, in Portland, Oregon. We are going to be doing his oral history as part of the project funded by the Jane and John Adams mini- grant. Good morning, Dr. Johnson. ALBERT W. JOHNSON: Good morning, Susan. SR: Dr. Johnson, you certainly made so many contributions to San Diego State University, spanning the presidencies of Dr. Love, Dr. Golding, and Dr. Day, and contributed so much, but we’d like to go back and start at the beginning. I’d like to know when and where you were born. Could you tell me a little about your early years? AWJ: Yes, thank you. I was born in a little town by the name of Belvidere, Illinois, a small agricultural community in northern Illinois, on July 29, 1926; and lived there all the time I was growing up, until I went into the military, which I can talk about later if you like; and then never did go back to live. And now, nobody from my family lives in Belvidere, Illinois. I had two parents, of course, Mother and Father. My mother was the daughter of a Lutheran minister in Belvidere, and played a very active role in the church herself. She was the organist, the choir directory, played the piano for all kinds of things, and of course raised the children. -
On the Road with President Woodrow Wilson by Richard F
On the Road with President Woodrow Wilson By Richard F. Weingroff Table of Contents Table of Contents .................................................................................................... 2 Woodrow Wilson – Bicyclist .................................................................................. 1 At Princeton ............................................................................................................ 5 Early Views on the Automobile ............................................................................ 12 Governor Wilson ................................................................................................... 15 The Atlantic City Speech ...................................................................................... 20 Post Roads ......................................................................................................... 20 Good Roads ....................................................................................................... 21 President-Elect Wilson Returns to Bermuda ........................................................ 30 Last Days as Governor .......................................................................................... 37 The Oath of Office ................................................................................................ 46 President Wilson’s Automobile Rides .................................................................. 50 Summer Vacation – 1913 ..................................................................................... -
Galatea's Daughters: Dolls, Female Identity and the Material Imagination
Galatea‘s Daughters: Dolls, Female Identity and the Material Imagination in Victorian Literature and Culture Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Maria Eugenia Gonzalez-Posse, M.A. Graduate Program in English The Ohio State University 2012 Dissertation Committee: David G. Riede, Advisor Jill Galvan Clare A. Simmons Copyright by Maria Eugenia Gonzalez-Posse 2012 Abstract The doll, as we conceive of it today, is the product of a Victorian cultural phenomenon. It was not until the middle of the nineteenth century that a dedicated doll industry was developed and that dolls began to find their way into children‘s literature, the rhetoric of femininity, periodical publications and canonical texts. Surprisingly, the Victorian fascination with the doll has largely gone unexamined and critics and readers have tended to dismiss dolls as mere agents of female acculturation. Guided by the recent material turn in Victorian studies and drawing extensively from texts only recently made available through digitization projects and periodical databases, my dissertation seeks to provide a richer account of the way this most fraught and symbolic of objects figured in the lives and imaginations of the Victorians. By studying the treatment of dolls in canonical literature alongside hitherto neglected texts and genres and framing these readings in their larger cultural contexts, the doll emerges not as a symbol of female passivity but as an object celebrated for its remarkable imaginative potential. The doll, I argue, is therefore best understood as a descendant of Galatea – as a woman turned object, but also as an object that Victorians constantly and variously brought to life through the imagination. -
Registering Protest: Voice, Precarity, and Return in Crisis Portugal
Dickinson College Dickinson Scholar Faculty and Staff Publications By Year Faculty and Staff Publications 2-2016 Registering Protest: Voice, Precarity, and Return in Crisis Portugal Lila Ellen Gray Dickinson College Follow this and additional works at: https://scholar.dickinson.edu/faculty_publications Part of the Musicology Commons Recommended Citation Gray, Lila Ellen. "Registering Protest: Voice, Precarity, and Return in Crisis Portugal." History and Anthropology 27, no. 1 (2016): 60-73. This article is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. History and Anthropology, 2016 Vol. 27, No. 1, 60–73, http://dx.doi.org/10.1080/02757206.2015.1113409 Registering Protest: Voice, Precarity, and Return in Crisis Portugal Lila Ellen Gray This article examines the circulation and reception of a song that catalyzed a youth move- ment and widespread protest in 2011 Portugal. Through a theorization of “register”,it argues for the importance of attending to micro-shifts in aesthetic form, engagement, and response, to understanding macro-shifts in public and political feeling. Keywords: Portugal; Protest Song; Crisis; Europe In November 2012, Spain and Portugal organize synchronized labour strikes; workers in Italy and Greece protest in solidarity.1 In February 2013, anti-austerity protesters occupy the parliament in Lisbon singing an iconic protest song from the 1974 Portu- guese revolution. The following evening different protesters sing the same song in Madrid.2 Graffiti in an abandoned industrial zone in Cacilhas (across the river Tagus from Lisbon), in July 2013, states, Somos Todos Gregos (“We are all Greeks”) (Figure 1). -
Chemung County Age-Friendly Community Action Plan Evaluation
Chemung County Age-Friendly Community Action Plan Evaluation 2015 – 2017 Submitted 2/15/18 Table of Contents Chemung County Age-Friendly Community Coalition 2 Executive Summary 4 Outdoor Spaces and Buildings 7 Transportation 23 Housing 32 Social Participation 43 Respect and Social Inclusion 45 Civic Participation and Employment 50 Communication and Information 54 Community Support and Health Services 59 1 Chemung County Age-Friendly Community Coalition December 2017 Kym Beckman-Draht/Cindy McInerney (Able 2) Pam Brown (Dept. of Aging & Long Term Care) Tara Burke (Chamber of Commerce) Dawn Bush/Rebecca Becraft (Health Dept.) Katie Coletta (Chemung Canal Trust Company) Liz Corveleyn (Town of Big Flats) Sam David (Retired past Director Dept. of Aging & Long Term Care) Marleah Denkenberger (Alzheimer’s Association Southern Tier Satellite) Dave Ellis (Town of Southport) Michele Fitch (Appleridge Senior Living) Allyson Graf (Elmira College) Jim Hackett (Dept. of Aging Advisory Council) Darlene Ike (Meals on Wheels of Chemung County, Inc.) Michele Johnson (YWCA) Evanna Koska (Dept. of Aging Advisory Council) Anita Lewis/Tina Brown (EOP) Mark Lisi (Food Bank of the Southern Tier) Dan Mandell (City of Elmira) Craig Mennig/Trisha Rude (The Arc of Chemung) Mary Mosteller (CareFirst – formerly Southern Tier Hospice and Palliative Care) Allison O’Dell (AIM Independent Living Center) Felix Perez (First Presbyterian Church of Elmira) Bridget Petrillose/Tim Driscoll (GST BOCES) Caroline Poppendeck (Chemung Count Library District) Ron Rehner (AARP Chapter -
Deadly Simulacra
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Institutional Research Information System University of Turin Vol. 1 No. 3 Language and Semiotic Studies Autumn 2015 Deadly Simulacra Massimo Leone University of Turin, Italy Abstract Taking the lead from a tale by French writer Prosper Mérimée, narrating the terrifying story of a statue of Venus that suddenly—and tragically—becomes alive, the paper will dwell on the several versions of this narrative topos (William of Malmesbury in the 12th Century, Gautier de Coincy in the 13th, Hermann Kroner in the 15th, up to Richard Burton in the 17th, Joseph von Eichendorff in the 19th, Gabriele D’Annunzio in the 20th) in order to semiotically reflect on two streams of the human imaginary: on the one hand, the statue that becomes alive; on the other hand, the human being that becomes a statue. Following such historical, anthropological, and semiotic excursus, the paper will conclude with an in-depth analysis of a very common present-day urban performance: living statues. Also with reference to contemporary British novel Observatory Mansions, by Edward Carey, the paper will seek to answer the following questions: why is the spectacle of the human body that becomes like stone so fascinating? Why are spectators attracted by immobility and yet offer their coins in order to see it turn into movement and life again? Keywords: simulacra, living statues, immobility, death, cultural semiotics Quid (h)ebetes morimur? Qui profuit lucem uidisse? Si nihil inquiras, hoc est beluarum adesse. (Commodiano, Carmen apologeticum, 33-34) Simulacra that perfectly imitate the human body are often perceived as bearing a connotation of deadly power. -
Collectif Masque CSC Des Fossés-Jean France Thales Teater Teater Halland Teater Sagohuset Suède Bricklayers St
COLLECTIF MASQUE CSC DES FOSSÉS-JEAN FRANCE THALES TEATER TEATER HALLAND TEATER SAGOHUSET SUÈDE BRICKLAYERS ST. OLAF COLLEGE CARLTON COLLEGE USA PRESENTS WOMEN, GENDER AND MASK, 1 INTERNATIONAL PROJECT « This adventure begins in Paris in March 2006, when two men, Stefan Ridell, *THE RESEARCH theater director at Teater Halland in Sweden and Etienne Champion, sculptor of mask and co-director of the Collectif Masque, France proposed me a project: The objective of «Trans Mission» is to question and position ourselves on the The mask and women - a workshop and a production. subject of women and gender, through creating plays related to the theme, The mask - I have worked for 20 years with Mario Gonzalez and Christophe laboratories, cultural activities, conferences, awareness campaigns. This topic Patty, both teachers at the National Conservatory of Paris. generates a particular interest in our societies. Women - I realize that I do not know much about this other half, my half, of WOMEN, humanity and in fact I’m not the only one. As soon as we open a dictionary or a During our research we will try to answer to several questions about women, history book, the absence of women is striking. To find more information about gender, mask and theater. GENDER AND women we have to go and have a look «specialized» literature as if women were MASKS, some strange beings. The points will be: At Teater Halland, in Sweden in June 2006, I started a Laboratory with international actresses and masks. This experience gave answers to my questions, because 1. The feminine character: PROJECT the mask allows the actors to express themselves freely, to reveal and unfold. -
Book Title Author Reading Level Approx. Grade Level
Approx. Reading Book Title Author Grade Level Level Anno's Counting Book Anno, Mitsumasa A 0.25 Count and See Hoban, Tana A 0.25 Dig, Dig Wood, Leslie A 0.25 Do You Want To Be My Friend? Carle, Eric A 0.25 Flowers Hoenecke, Karen A 0.25 Growing Colors McMillan, Bruce A 0.25 In My Garden McLean, Moria A 0.25 Look What I Can Do Aruego, Jose A 0.25 What Do Insects Do? Canizares, S.& Chanko,P A 0.25 What Has Wheels? Hoenecke, Karen A 0.25 Cat on the Mat Wildsmith, Brain B 0.5 Getting There Young B 0.5 Hats Around the World Charlesworth, Liza B 0.5 Have you Seen My Cat? Carle, Eric B 0.5 Have you seen my Duckling? Tafuri, Nancy/Greenwillow B 0.5 Here's Skipper Salem, Llynn & Stewart,J B 0.5 How Many Fish? Cohen, Caron Lee B 0.5 I Can Write, Can You? Stewart, J & Salem,L B 0.5 Look, Look, Look Hoban, Tana B 0.5 Mommy, Where are You? Ziefert & Boon B 0.5 Runaway Monkey Stewart, J & Salem,L B 0.5 So Can I Facklam, Margery B 0.5 Sunburn Prokopchak, Ann B 0.5 Two Points Kennedy,J. & Eaton,A B 0.5 Who Lives in a Tree? Canizares, Susan et al B 0.5 Who Lives in the Arctic? Canizares, Susan et al B 0.5 Apple Bird Wildsmith, Brain C 1 Apples Williams, Deborah C 1 Bears Kalman, Bobbie C 1 Big Long Animal Song Artwell, Mike C 1 Brown Bear, Brown Bear What Do You See? Martin, Bill C 1 Found online, 7/20/2012, http://home.comcast.net/~ngiansante/ Approx. -
YEAR 8 ENGLISH COMPREHENSION TEXT Living
DEPARTMENT FOR CURRICULUM, LEVEL LIFELONG LEARNING AND EMPLOYABILITY Directorate for Learning and Assessment Programmes 5 - 6 - 7 Educational Assessment Unit Annual Examinations for Middle Schools 2019 YEAR 8 ENGLISH COMPREHENSION TEXT Text 1 Living Statues – the Art of not falling over 1 The first living statue goes back to the ancient Greeks where members of the public would pose for famous sculptors. However, in reality, the living statue first 5 appeared in the 19th century as a circus performance. In the early 20th century, living statues became more famous thanks to ‘tableaux vivants’. These consisted of a group of 10 actors who would pose and be lit in a particular way so as to appear like paintings. Since that time, living statues have appeared in films. “The Phantom of the 15 Opera” and “Hot Fuzz” are two films that have shown living statues on screen. Moving from the inside to the outside, street performances have increased in the following years too. Various living statues 20 appeared in places all over Europe such as Covent Garden in London, La Rambla in Barcelona and lately also in Republic Street in Valletta. As it turns out, being a living statue is not that easy. A living statue will do “solitude” sessions of 30 minutes to an hour followed by a quick five- 25 minute break and then repeat. This can go on for several hours. It is tiring on the body and a wibble or a wobble can ruin their performance. Some living statues can go for an hour without blinking and they also make sure that people do not see them breathe. -
Alberto Savinio: a Bridge Between Metaphysical Painting and Mexican Modern Art
ITALIAN MODERN ART | ISSUE 2: ISSN 2640-8511 A Bridge Between Metaphysical Painting and Mexican Modern Art ALBERTO SAVINIO: A BRIDGE BETWEEN METAPHYSICAL PAINTING AND MEXICAN MODERN ART italianmodernart.org/journal/articles/alberto-savinio-a-bridge-between-metaphysical-painting-and- mexican-modern-art 0 Carlos Segoviano Alberto Savinio, Issue 2, July 2019 -------------https://www.italianmodernart.org/journal/issues/alberto-savinio/ Abstract In 1993, alongside the first exhibition in Mexico of works by Giorgio de Chirico, a parallel exhibition entitled “Metaphysics Iconography in Mexico” explored the connections between Metaphysical Painting and Mexican modern art. Omitted from this survey was the significant relationship between Alberto Savinio and the Mexican artist Marius de Zaya: both of these artists were not only considered part of Apollinaire’s creative circle but also collaborated together on projects for international magazines such as 291. This presentation investigates the reception of Alberto Savinio’s painting and art criticism in Mexico, as well as, more specifically, his connection with the artists de Zayas, Siqueiros and Antonio Ruiz “El Corcito.” It may seem strange to write an essay that relates Andrea de Chirico, better known as Alberto Savinio, to Mexican art, given that the Greek-born Italian artist never visited “the land of the Aztecs.” There is likewise an absence of information concerning any friendships he may have maintained with promiment Mexican painters who were his contemporaries. I have identified only five translated -
Living Statues
Kari Jormakka Living statues Bewegung liegt allem Wercl'en zugrunde. ... Auch im Weltall ist Bewegung das Gegebene. Paul Klee' On March 15, 1912, Umberto Boccioni wrote a letter from London to his friend Vico Baer, announcing: »I am obsessed these days by sculpture! I think I can per ceive a complete renewal of this mummified art.,,2 At this time avant-garde painting had definitely outsped the other arts, with sculpture and architeoture lagging furth est behind. In Boccioni's mind, it defied explanation »how generations of sculptors can continue to construct dummies without asking themselves why all the exhibi tion halls of sculpture have become reservoirs of boredom and nausea, or why in augurations of public monuments, a rendezvous of uncontrollable hilarity.«3 The general aim of the futurist movement was to synchronise the arts with the development of modern society and technology. Hence, in the first futurist manife sto, published in the Parisian Le Figaro on February 20, 1909, Filippo Tommaso Marinetti renounced any fixation on the past, despite hirnself being burdened with history because of his Italian education and his birthplace of Alexandria in Egypt. He declared: »In truth I tell you that the daily round of museums, Iibraries, and academies (cemeteries of vain efforts, calvaries of crucified dreams, registries of aborted beginnings!) is as damaging for artists as the prolonged guardianship of pa rents is for certain young people drunk with their talent and ambitious desire.... We want no part in it, we are young and strong Futurists!" Instead of following the outdated model of c1assical art, Marinetti declared that a roaring race car is more beautiful than the Nike of Samothrace.