Hyperobjects for Artists
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Download Futuro Anteriore
Numero XVII Estate 2017 futuro anteriore Sommario L'Editorial L’Editorial 3 InSistenze 4 Gusci vuoti alla dervia di Simone Scaloni 5 Nella sottrazione utile... di Anna Laura Longo 9 SETTEMBRE 2017 - N.17- ANNO 5 La cristallomanzia delle vite interrotte di Gioele Marchis 13 L’attimo al fulmicotone di Lucio Costantini 17 www.rivistadiwali.it InVerso 21 «No, non è detto che il passato sia già accaduto, così alla perfezione piattamente presente del digitale, che an- Gianluigi Miani 22 come non è detto che il futuro non lo sia ancora. È cer- nulla ogni profondità dimensionale. O come le visioni vo- Valentina Ciurleo 23 to questo il modo in cui spontaneamente pensiamo il lutamente caricaturali del futuro nella fantascienza, che Direttore Editoriale tempo, ma...Lo spazio di questo ma raccoglie le infinite sappiamo non si produrranno mai come le immaginiamo, Roberto Marzano 24 Maria Carla Trapani possibilità della rappresentazione artistica del futuro an- ma che hanno proprio nel loro essere improbabili la forza Martina Millefiorini 26 teriore, questo tempo strano che già sui banchi di scuola di una protesta, di una resistenza. A volte l’anticato e il Direttore Responsabile Dona Amati 28 ci appariva misterioso. Ma è tutto lì il senso del tempo: futuristico si fondono in una sola immagine doppiamente Flavio Scaloni nella possibilità di pensare adesso qualcosa che oggi o anacronistica, come nello Steampunk, in cui le due dire- Focus Haiku 30 domani sarà passata… zioni convergono in una sola immagine, in un solo suo- Redazione InStante 35 Sarà passata, eccolo un esempio del nostro tempo, no, in una sola parola di resistenza. -
Mount Vernon Democratic Banner November 19, 1875
Digital Kenyon: Research, Scholarship, and Creative Exchange Mount Vernon Banner Historic Newspaper 1875 11-19-1875 Mount Vernon Democratic Banner November 19, 1875 Follow this and additional works at: https://digital.kenyon.edu/banner1875 Recommended Citation "Mount Vernon Democratic Banner November 19, 1875" (1875). Mount Vernon Banner Historic Newspaper 1875. 19. https://digital.kenyon.edu/banner1875/19 This Book is brought to you for free and open access by Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Mount Vernon Banner Historic Newspaper 1875 by an authorized administrator of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. - ($2,00 Per Annul!l i n A dvance, L. HARPER, Editcr an~ Propriet) A FAMILY NEWSPAPER-DEVO'l'ED 'IO POLITICS, NEWS, AGRICULTURE, LITERATURE, THE ARTS AND SCIENCES, EDUCATION, THE MARKETS, &c. 7voLUME XXXIX. MOUNT VERNON, OHIO: ]fµIDAY, NOVEMBER 19, 187 5.' NUMBER 29. 'rl\AVDLl'l:R.'S GUIDl:I. TUE l'A VOIU'i'E Cllll,D. cbariuin.~ apparition put all such ideas to A Shrewd Sausage Dealer. A R oyal Scandal. ~ ll ~01:ts off t}itl'lt£l11t~lu;. ·1875. FALL 1875. l --o-- 1 J1ight. Dumb nnd motionlc8" sho stood Th3 other.day, about no0n, a youogman I A lcrribloatory cornea from Spain, whicb . ·-·-·"---•----~-.. ~y N:™3. S. M. D. rIATT. l for the poor soul Dever could perform in1• loft iu charge of one of the law uffice;; on 'if truo, do,troy• all hopas of a decent go,• T'· C!evcland I Mt. -
Vide O Clipe: Forças E Sensações No Caos
UNIVERSIDADE ESTADUAL DE CAMPINAS FACULDADE DE EDUCAÇÃO DISSERTAÇÃO DE MESTRADO Vide o clipe: forças e sensações no caos Autor: Pamela Zacharias Sanches Oda Orientador: Prof. Dr. Antonio Carlos Rodrigues de Amorim Este exemplar corresponde à redação final da Dissertação defendida por Pamela Zacharias Sanches Oda e aprovada pela Comissão Julgadora. Data: 15 / 02 / 2011 2011 ii iii Ao Lucas, Meu amor, amigo e companheiro, que possibilitou através de seu incentivo, de seu olhar crítico e de sua imensa paciência a concretização deste trabalho. iv AGRADECIMENTOS Agradecer é estar em estado de graça. Assim me sinto ao traçar as últimas linhas dessa dissertação. Nesse momento, rememoro todo o trajeto do mestrado e percebo que o que me trouxe aqui se iniciou bem antes da escrita do projeto, bem antes de fazer minha inscrição para o processo seletivo. O início de tudo está em um tempo não situável e deve-se a tantos corpos que não haveria espaço para agradecê-los nestas páginas. Por isso o estado de graça, a gratidão ampla e imensurável por estar onde estou e poder deixar um registro de um pedacinho de minha vida no mundo, mesmo que perdido entre as estantes de uma biblioteca acadêmica. Isso porque este texto é apenas a materialidade simbólica de tudo o que este trabalho me trouxe e vai além, muito além do que ele apresenta. Agradeço, portanto, ao prof. dr. Antônio Carlos de Amorim, por ter se interessado em me orientar e ter me possibilitado tantos encontros teóricos e principalmente humanos; ao grupo de pesquisa OLHO e, em especial ,ao Humor -
Marx, Windows Into the Soul: Surveillance and Popular Culture, Chapter A
Marx, Windows Into the Soul: Surveillance and Popular Culture, Chapter A Culture and Contexts (intro from printed book) News stories don’t satisfy on a human level. We know that Guantanamo is still open, but do we really know what that means?’ The idea is to experience an emotional understanding, so it’s not just an intellectual abstraction. -Laura Poitras, filmmaker The structure, process and narrative units that make up most of the book rely on language in presenting facts and argument. In contrast, the emphasis in this unit is on forms of artistic expression. .Images and music are one component of the culture of surveillance that so infuses our minds and everyday life. The symbolic materials and meanings of culture are social fabrications (though not necessarily social deceptions). They speak to (and may be intended to create or manipulate) needs, aspirations, and fears. Culture communicates meaning and can express (as well as shape) the shared concerns of a given time period and place. Surveillance technology is not simply applied; it is also experienced by agents, subjects, and audiences who define, judge and have feelings about being watched or a watcher. Our ideas and feelings about surveillance are somewhat independent of the technology per se. As with the devil in Spanish literary tradition (image below) the artist can serve to take the lid off of what is hidden, revealing deeper meanings. Here the artist acts in parallel to the detective and the whistleblower: Marx, Windows Into the Soul: Surveillance and Popular Culture, Chapter A In the original version of the book I divided the cultural materials into two units. -
Weather and Climate
The Evolution of the T2L Science Curriculum Over the last four years, the Teach to Learn program created 20 NGSS-aligned science units in grades K-5 during our summer sessions. True to our plan, we piloted the units in North Adams Public Schools, and asked and received feedback from our science fellows and our participating teachers. This feedback served as a starting point for our revisions of the units. During year 2 (Summer of 2015), we revised units from year 1 (Summer/Fall 2014) and created new units to pilot. In year 3, we revised units from years 1 and 2 and created new units of curricula, using the same model for year 4. Our understanding of how to create rich and robust science curriculum grew, so by the summer of 2018, our final summer of curriculum development, we had created five exemplar units and established an exemplar unit template which is available in the T2L Toolkit. We made a concerted effort to upgrade all the existing units with exemplar components. We were able to do much, but not all. So, as you explore different units, you will notice that some contain all elements of our exemplar units, while others contain only some. The fully realized exemplar units are noted on the cover page. We did revise all 20 units and brought them to a baseline of “exemplar” by including the Lessons-At-A-Glance and Science Talk elements. Grade 3 Weather and Climate T2L Curriculum Unit Weather and Climate Earth and Space Science/Grade 3 In this unit, students will learn about the importance of our sun, how the earth moves in relationship to the sun, why different places on the earth are impacted differently by the sun, the concept of energy as it relates to heat and light, and the importance of energy exchange between the Earth and the sun. -
Mediated Music Makers. Constructing Author Images in Popular Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew. -
White Racial Identity and Anti-Racist Education: a Catalyst for Change by Sandra M
White Racial Identity and Anti-Racist Education: A Catalyst for Change by Sandra M. Lawrence and Beverly Daniel Tatum Although race and race- results. While some findings reveal related issues permeate and that White teachers have more influence every social institution, positive feelings about people of any White teachers currently color after participating in teaching in schools have had little multicultural courses and programs exposure to a type (Bennet, Niggle & of education in For Whites, the process Stage, 1990; Larke, which the impact involves becoming aware of Wiseman & Bradley, of race on one’s “whiteness,” accepting 1990), it seems that classroom practice this aspect of one’s identity as few of these and student socially meaningful and programs have had development was personally salient, and the ability to systematically ultimately internalizing a influence either examined (Sleeter, realistically positive view of prospective or 1992; Zeichner, whiteness which is not based current teachers' 1993). Some on assumed superiority. views about teacher education themselves as racial programs have responded to this beings or to alter existing teaching disparity by providing teacher practices (McDiarmid & Price, education students with courses 1993; Sleeter, 1992). dealing with multicultural issues as Even though the number of well as with experiences in diverse studies that point to successful classroom settings. Similarly, multicultural and anti-racist some school districts have courses continues to be low, we provided school faculty with believed that what we were doing multicultural professional in our courses with our students development workshops and was more successful than what we programs. Despite these pre- and had read about in formal studies. -
Events, Places and Things and Their Place in Lehi History
Events, Places and Things and their Place in Lehi History Abel John Evans Law Offices ● The Lehi Commercial and Savings Bank was the Law Offices of Abel John Evans in 1905. Adventureland Video ● Established in the Old Cooperative building at 197 East State in 1985. Alahambra Saloon ● This was a successful saloon ran by Ulysses S. Grant(not the President) for a few short years in the Hotel Lehi (Lehi Hotel) In 1891 through approximately 1895. ● The address was 394 West Main Street. American Fork Canyon Power Plant ● When the power plant was closed, one of the cabins was sold to Robert and Kathleen Lott in 1958 and it is their home today at 270 North 300 East American Fork Canyon Railroad ● Railroad that took men to the mines in American Fork Canyon ● Henry Thomas Davis helped build the railroad in American Fork Canyon American Savings and Loan Company ● Company founded by Lehi man John Franklin Bradshaw A.O.U.W. Lodge ● A.O.U.W. Lodge met in an upper room at the Lehi Commercial and Savings Bank in 1895. ● It stands for Ancient Order of United Workmen ● The AOUW was a breakoff of the Masons. Arley Edwards Barbershop ● Opened a barbershop in 195152 in the Steele Building at 60 West Main. Athenian Club ● The Athenian Club was organized on December 27, 1909 at the home of Emmerrette Smith. She was elected the first President ● Julia Child was elected vice President and Jane Ford was elected Secretary. ● There was a charter membership of 20 members ● The colors of the club were yellow and white ● They headed the drive for a Public Library. -
On the Aesthetics of Music Video
On the Aesthetics of Music Video Christopher J ames Emmett Submitted in accordance with the requirements for the degree of PhD. I he University of Leeds, School of Fine Art, History of Art and Cultural Studies. October 2002 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy lias been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. Contents Acknowledgements Abstract Introduction 1: Fragments 2: Chora 3: The Technological Body Conclusion Appendix: Song Lyrics Transcription Bibliography Acknowledgements The bulk of the many thanks owed by me goes first to the University of Leeds, for the provision of a University Research Scholarship, without which I would have been unable to undertake the studies presented here, and the many library and computing facilities that have been essential to my research. A debt of gratitude is also owed to my supervisor Dr. Barbara Engh, whose encouragement and erudition, in a field of interdisciplinary research that demands a broad range of expertise, and I have frequently demanded it, has been invaluable. Mention here should also be made of Professor Adrian Rifkin, whose input at the earliest stage of my research has done much to steer the course of this work in directions that only a man of his breadth of knowledge could have imagined. Thanks also to the administrative staff of the School of Fine Art, History of Art and Cultural Studies, in particular Gemma Milburn, whose ever available assistance has helped to negotiate the many bureaucratic hurdles of the last four years, and kept me in constant touch with a department that has undergone considerable upheaval during recent years. -
2017 Dis Jpmonteiro.Pdf
UNIVERSIDADE FEDERAL DO CEARÁ INSTITUTO DE CULTURA E ARTE PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO JULIO PIO MONTEIRO NOMADISMO SENSÍVEL: ESTÉTICA DO VIDEOCLIPE E TENSIONAMENTOS EM STONEMILKER E BLACK LAKE FORTALEZA 2017 JULIO PIO MONTEIRO NOMADISMO SENSÍVEL: ESTÉTICA DO VIDEOCLIPE E TENSIONAMENTOS EM STONEMILKER E BLACK LAKE Dissertação apresentada ao Programa de Pós- Graduação em Comunicação da Universidade Federal do Ceará, como requisito parcial à obtenção do título de mestre em Comunicação. Área de concentração: Fotografia e Audiovisual. Orientador: Prof. Dr. Osmar Gonçalves dos Reis Filho FORTALEZA 2017 ___________________________________________________________________________ ___________________________________________________________________________ JULIO PIO MONTEIRO NOMADISMO SENSÍVEL: ESTÉTICA DO VIDEOCLIPE E TENSIONAMENTOS EM STONEMILKER E BLACK LAKE Dissertação apresentada ao Programa de Pós- Graduação em Comunicação da Universidade Federal do Ceará, como requisito parcial à obtenção do título de mestre em Comunicação. Área de concentração: Fotografia e Audiovisual. Orientador: Prof. Dr. Osmar Gonçalves dos Reis Filho Aprovada em: ___/___/______. BANCA EXAMINADORA ________________________________________ Prof. Dr. Osmar Gonçalves dos Reis Filho (Orientador) Universidade Federal do Ceará (UFC) _________________________________________ Prof. Dr. Henrique Codato Universidade Federal do Ceará (UFC) _________________________________________ Prof. Dr. Thiago Soares Universidade Federal de Pernambuco (UFPE) A meus pais, Francisca e Júlio. Ao meu sim-fim de corações, minhas irmãs. Aos meus amigos. A cada adolescente estranho no mundo. AGRADECIMENTOS Obrigado aos meus amigos que estiveram comigo durante esta jornada tão complicada. Obrigado por morarem em mim. Eu não posso numerar todos. Sou bom com afetos, não com palavras. Obrigado aos meus pais. À minha mãe, matriarca forte que soube me dar carinho e força. À meu pai, para que eu nunca esqueça de quem ele é. -
Chicago Jazz Festival Spotlights Hometown
NOVEMBER 2017 VOLUME 84 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Hawkins Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Kevin R. Maher 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, -
Thesis Writing Deliverables (Pdf)
DEFENSE SPEECH Discovering and listening to music has always been my biggest passion in life and my primary way of coping with my emotions. I think its main appeal to me since childhood has been the comfort it brings in knowing that at some point in time, another human felt the same thing as me and was able to survive and express it by making something beautiful. For my project, I recorded a 9 track album called Strange Machines while I was on leave of absence last year. This term, I created a 20 minute extended music video to accompany it. All of this lives on a page I coded on my personal website with some fun bonus content that I’ll scroll through at the end of this presentation. I’ll put the link in the comments so anyone who’s interested can check it out at their own pace. I have so much fun making music and feel proud when I have a cohesive finished product at the end. I’m not interested in becoming a virtuoso musician or a professional producer. A lot of trained musicians gatekeep, intimidate, and discourage amateurs. People mystify and mythologize the creative process as if it’s the product of some elusive, innate genius rather than practice, experimentation, and a simple love of music. As someone who’s work exists entirely as digital recordings, there’s no inherent reason for me to be an amazing guitar player who can play a song perfectly all the way through, as mistakes can be easily cut out and re-recorded.