Winged Ox Summer 2017

Total Page:16

File Type:pdf, Size:1020Kb

Winged Ox Summer 2017 ST. Luke’S SCHOOL 487 Hudson Street New York, NY 10014 212.924.5960 • stlukeschool.org SUMMER 2017 TALES FROM ST. Luke’S SCHOOL was raised in a politically active family. I spent my childhood stuffing envelopes in Citizenship various storefront offices, traipsing behind my mother as she knocked on doors, I and shifting impatiently from foot to foot as she worked polls on election day. I vividly remember my mother mourning the death of Adlai Stevenson in 1965. “We have lost one of our great statesmen,” she said. “He was more than a politician. He was a citizen!” Recently, I decided to revisit my mother’s fascination with Ad- lai Stevenson and began reading some of his speeches. Comfort and inspiration were to be found. “As citizens of this democra- cy,” Stevenson said, “you are the rulers and the ruled, the law- givers and the law-abiders, the beginning and the end.” Stevenson was identifying one path to lead children towards The apex of this effort, perhaps, was the Grade 8 citizenship an understanding of civil discourse and civic opportunity that project. Working in groups, students were asked to research transcend periods of dissent and discord. The St. Luke’s School and propose solutions for issues they had never experienced, Mission Statement offers another, calling upon us to be “… re- and possibly never would. They worked with each other and sponsible, caring members of one global, human community.” mentors in the community to delve deeply into the unknown, confident that they could offer understanding and support. Our focus for much of this year has been to embrace the skills, The event culminated in a written paper, an oral presentation, attitudes, and behaviors of engaged, values-driven citizenship. and questions and answers. We taught children skills of self-advocacy so they could learn the difference between arguing for and disparaging against. As members of the St. Luke’s School community, we ask stu- We asked children to engage deeply with perspectives dents to both honor and challenge rules, to abide by and gener- other than their own so they could see difference as an ate laws, and to serve a greater good. In short, we aim for our opportunity and not a threat. We encouraged them students, and for each of us, to be the beginning and the end of to take intellectual risks as they explored new ideas. the world to which we aspire. This edition of The Wingèd Ox celebrates a year of All in all, not a bad way to spend a school year. growth and challenge and honors the hard work and dedication of our faculty and staff, the intel- BART BALDWIN lectual and moral courage of our students, and Head of School the compassion and conviction of our parents. NEWS & THE ANNUAL REPORT Building Engaged Citizens ENGAGING COMPASSIONATE CITIZENSHIP IN GRADE 8 Upper School English, Social Studies, Technology, Library, and Diversity Departments In their final trimester at St. Luke’s, Grade 8 students complete STUDENT REFLECTIONS a project that spans their English, social studies, and technol- “Our project is about Islamophobia in New York City. In order ogy courses. The Grade 8 Citizenship Project aims to develop to fix this problem we must get a message out into the world a social awareness that drives students to be active, engaged that Muslims are humans too. Their only difference is their citizens who analyze and reflect on society's values. Ultimately, prayer; they still eat, drink, sleep, and enjoy life like us.” we hope to inspire our graduates to work for a just society that embodies the standards of St. Luke's School. “My research has been mainly focused on solutions to help stop homelessness. I was surprised that most homelessness in The project requires students to do an in-depth study of a demo- NYC is a result of high rents, which is why NYC has such a graphic that is different than theirs. Demographics may include large population of homeless people. I also learned that most Muslims, public school students, unionized workers, homeless solutions for homelessness revolve around trying to house a people, or farmers. Students are put into groups and assigned family rather than one person.” their demographics. As a team, they conduct extensive research. They work with both primary and secondary sources, conduct “I was assigned the topic of unionized workers. We had our interviews, listen to guest speakers, and go on field visits. Fac- first phone interview last week, and it went extremely well. ulty support students' research processes and accompany them Over the past couple of days I have learned a lot about col- on interviews and field visits. Additionally, School Librarian, Ms. lective bargaining, and the pros and cons of being a part of Eisman, and a representative from the New York Public Library a union. These pros and cons may be different depending on assist students in learning library skills, including the use of people's situations and points of view.” online databases. Ms. Stewart, Manager of Diversity and Inclu- sion, supports the project by providing curricular input that encourages the students' cultural awareness and understanding and by doing outreach that devel- ops our list of contacts for given demographics. Based on the group findings, each student writes an MLA formatted research essay. Then, using de- sign thinking methodologies, Director of Technol- ogy, Ms. Zelechow, helps each group create tech- nology that models innovative solutions to improve the quality of life for the demographic groups they have studied. Finally, the groups present their proj- ects to the St. Luke’s community. 2 | The Wingèd Ox COMMUNICATION IS THE KEY TO SELF-ADVOCACY READ TO FEED Jessica Kristan, Grade 3 Teacher Elon Rosenberg, Grade 4 Teacher Communication is the key to self-advocacy. This is a phrase the Grade 4 has been working on a community service project Grade 3 students are coming to live by. In our social emotional called “Read to Feed.” It is intended to help them understand learning (SEL) lessons, we’ve been talking about the difference how their efforts can benefit not only themselves but also those between passive, aggressive, and assertive communication. All in need. Grade 3 and Grade 4 worked with The Father’s Hearts communication can be less stressful and more successful if we Ministries to prepare and donate “meal bags” for families in understand the nuanced differences between these three styles need in our city. This is an organization that provides a soup of speaking. When we speak in an aggressive way, we elicit ag- kitchen and food pantry in the East Village. We first heard gressive and defensive behavior in return. When we behave about this wonderful group from Grade 3 teacher, Ms. Chiu, in a passive way, our voices are not heard and our needs are who has been a frequent volunteer there. The students read not met. So instead, we must be assertive when we speak to articles and looked at websites to see how poverty affects our each other. We show assertive body language by grounding city. We hope that they also develop the idea that poverty does our feet, keeping our heads up and our shoulders straight, and not always mean being homeless on the streets, but it can also maintaining eye contact. We are clear, direct, polite, and firm mean having difficulty paying for food, rent/housing, health in our language. We also are thinking, “I have the power and supplies, medicine, clothing, and other items they might take courage to ask for this. I am strong and fair.” This is a difficult for granted. We hope to have volunteers from The Father’s skill to learn, and many adults still struggle with this idea. Hearts Ministries speak to the students during class time. The Father’s Heart Ministries models how being engaged in one’s We practiced speaking in an assertive voice while role playing religion is also about the actions you take to help the world and certain situations in which we might find ourselves. For ex- the community around you. In Judaism, for instance, this is ample: A classmate keeps joking with you by trying to trip you as called Tikkun Olam which means “repairing the world.” you walk up the stairs. It might have been funny at first to both of you, but now it’s definitely not funny to you anymore. However, For this project, the Grade 4 students collected pledges for your classmate keeps doing it. We learned how to the amount of chapter books they read from the begin- self advocate and stop this type of behavior by be- ning of February to the beginning of spring break. With ing direct, clear, and honest. Equipped with this the money collected from the pledges, the students went kind of language, we can stick up for ourselves on a grocery shopping field trip to gather healthy goods to do- Grade 3 students and others when the need arises – whether that is nate. They then organized this food into “meals” for families in practice assertive communication in our immediate community or in a larger social need. These meal packages also included encouraging pictures context. We are gaining the confidence to ask for drawn by the children. Our goal at St. Luke’s is to help our stu- what we need and what we think is just. This year, dents to become caring and proactive citizens who realize that we will continue to practice conflict resolution and they can make a difference. problem solving in our SEL lessons. Summer 2017 | 3 Living Our Standards PARENTS AS PARTNERS IN SOCIAL JUSTICE WORK Susan Yao, Upper School Humanities Teacher Parents and teachers traditionally educate children in completely separate spheres: life lessons are learned at home; academic lessons in the classroom.
Recommended publications
  • Summer Classic Film Series, Now in Its 43Rd Year
    Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
    [Show full text]
  • The Evolution of Streetwear
    The Evolution of Streetwear The newfound reality of Streetwear and its luxury-like management Trabalho Final na modalidade de Dissertação apresentado à Universidade Católica Portuguesa para obtenção do grau de mestre em Marketing por Miguel Lobo de Macedo sob orientação de Professora Doutora Joana César Machado Universidade Católica, Faculdade de Economia e Gestão, Maio de 2015 Acknowledgements Máximo 1 página (facultativo) Abstract Purpose: To explore the critical dimensions of successful streetwear brands and how they garner customers’ attention, devotion and regard for the brand. Ultimately, the goal is to compare the anatomy of a streetwear brand to that of a luxury fashion brand and analyze the main differences and similarities between the two in order to understand how a streetwear brand, Supreme, operates in its niche market. By using a case study approach, this study plans on analyzing the newfound reality of streetwear, the reasons for its unprecedented consumption and what the biggest brands in this industry do in order to appeal, constantly, to different crowds: the devoted followers and the fashion-driven consumers. With this in mind, the study intends to validate the relevancy of these streetwear labels in today’s luxury fashion markets. Findings: The aspirational consumer of today’s streetwear will be the aspirational consumer of the eventual luxury market of tomorrow. I understand that there is still a lot to be studied within this streetwear industry but believe to have validated the importance of these brands in the purchasing intention of today’s consumers, by deconstructing the brands. Three important levels of analysis cement my study.
    [Show full text]
  • How Fashion Erased the Politics of Streetwear in 2017
    City University of New York (CUNY) CUNY Academic Works Capstones Craig Newmark Graduate School of Journalism Fall 12-15-2017 Mask On: How Fashion Erased the Politics of Streetwear in 2017 Frances Sola-Santiago How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gj_etds/219 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Mask On: How Fashion Erased the Politics of Streetwear in 2017 By Frances Sola-Santiago Hip-hop culture dominated the fashion zeitgeist in 2017. From a Louis Vuitton and Supreme collaboration to Gucci’s support of Harlem designer Dapper Dan’s store reopening, the fashion industry welcomed Black culture into the highest echelons of high fashion. Rapper Cardi B became the darling of New York Fashion Week in September after being rejected by designers throughout most of her career. Marc Jacobs traded the runway for the street, staging a show that included bucket hats, oversized jackets, and loads of corduroy on a large number of models of color. But while the industry appeared to diversify by acknowledging the indomitable force of hip-hop culture, it truly didn’t. The politics of hip-hop and Black culture were left out of the conversation and the players behind-the-scenes remained a homogeneous mass of privileged white Westerners. Nearly every high fashion brand this year capitalized on streetwear— a style of clothing born out of hip-hop culture in marginalized neighborhoods of New York City and Los Angeles, and none recognized the historical, cultural, and political heritage that made streetwear a worldwide phenomenon, symbolizing power and cool.
    [Show full text]
  • To Innovate Chinese Artistic and Popular Culture and to Create Design and Brand of Fashion Products
    2019 International Conference on Education, Management, Social Science and Humanities Research (EMSSHR 2019) To Innovate Chinese Artistic and Popular Culture and to Create Design and Brand of Fashion Products Wang Shiyin, Qiang Mo* Guangzhou Academy of Fine Arts, 510066 *Corresponding author Keywords: The Method of Innovation, Fashion Cultural Products Derived from Art, The Construction of Brands, Core Value in Brand Abstract: On the basis of studying and combing out traditional cultural elements, this paper pays attention to the cultural connotation of Chinese classical design, updates the concept of innovative design, and reflects the cultural consciousness and self-confidence of artistic design and inject and applies national cultural elements to the design innovation practice of fashion art derivatives in order to explore the possibility of establishing a brand operation in the fashion art derivative market. The research method adopts the status analysis of domestic and foreign art and fashion design products, takes successful brand cases as examples, analyzes and discusses the design of representative popular logo products from the perspective of overall understanding and the whole environment, explores new design innovation methods, and puts forward theoretical basis for innovative brand strategy planning. Under the present background of cultural communication and the exchange of the sharp collision, problems that it is worth us to think mainly include the traditional craft and modern pop art, folk tradition and regional culture, the progress of science and technology and the humanities spirit, etc. These knowledges will undoubtedly directly affect people's real life and consumption idea, at the meanwhile, it can inspire creative inspiration and designers of fashion product innovation, and can become the art designer innovation inexhaustible creative driving power.
    [Show full text]
  • 14-SMX48 Copeland
    )ORZDQG$UUHVW +XH\&RSHODQG Small Axe, Volume 19, Number 3, November 2015 (No. 48), pp. 205-224 (Article) 3XEOLVKHGE\'XNH8QLYHUVLW\3UHVV For additional information about this article http://muse.jhu.edu/journals/smx/summary/v019/19.3.copeland.html Access provided by Northwestern University Library (25 Mar 2016 15:17 GMT) Flow and Arrest Huey Copeland We start with a story. In 2002, while researching the dissertation from which my first book, Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America, would emerge, I had the opportunity to pose for the artist Lorna Simpson. Her practice had already become a locus of my thinking about aesthetics, slavery, and the aporias of representation, so I eagerly agreed to serve as her model. With characteristic economy, Simpson made good use of the photographs resulting from our session, eventually deploying them in a range of artworks that together comprise her 2002–03 exhibition Cameos and Appearances. Yet how- ever reproduced, framed, or occluded, those initial Polaroid images are also documents of an encounter in which the “art historian” became the “subject” of “his artist’s” “objective” gaze, leaving each of the quoted words estranged from itself and underlining an entanglement in the artistic procedures that I set out to describe.1 Estranged and entangled: these terms begin to articulate not only the queer experience of belatedly gazing at myself through Simpson’s lens but also that of reading the critical engage- ments with Bound to Appear commissioned by Small Axe and penned by two black literary scholars, Stephen Best and Hortense Spillers, whose work has long mattered to my own.
    [Show full text]
  • Universitas Katolik Parahyangan Fakultas Ilmu Sosial Dan Ilmu Politik Program Ilmu Administrasi Bisnis
    Universitas Katolik Parahyangan Fakultas Ilmu Sosial dan Ilmu Politik Program Ilmu Administrasi Bisnis Terakreditasi A SK BAN –PT NO: 468/SK/BAN-PT/Akred/S/XII/2014 Pengaruh Co-Branding Louis Vuitton dan Supreme Terhadap Minat Pembelian Konsumen di Bandung dan Jakarta Skripsi Oleh Yen Manda 2015320086 Bandung 2019 Universitas Katolik Parahyangan Fakultas Ilmu Sosial dan Ilmu Politik Program Ilmu Administrasi Bisnis Terakreditasi A SK BAN –PT NO: 468/SK/BAN-PT/Akred/S/XII/2014 Pengaruh Co-Branding Louis Vuitton dan Supreme Terhadap Minat Pembelian Konsumen di Bandung dan Jakarta Skripsi Oleh Yen Manda 2015320086 Pembimbing Fransiska Anita Subari, S.S., M.M. Bandung 2019 ABSTRAK Nama : Yen Manda NPM : 2015320086 Judul : Pengaruh Co-Branding Louis Vuitton dan Supreme Terhadap Minat Pembelian Konsumen di Bandung dan Jakarta Untuk memenangkan persaingan, merek-merek mempertimbangkan untuk berkolaborasi dengan satu atau lebih merek untuk membangun kekuatan baru di pasar akhir-akhir ini. Beberapa ahli mengatakan bahwa Co-Branding dapat berhasil jika satu merek berkolaborasi dengan merek kuat lain yang memiliki karakteristik yang mirip atau cocok dengan merek induk. Merek terkenal, Louis Vuitton (LV), telah melakukan Co-Branding. Yang menarik adalah, meskipun memilih merek lain dari segmentasi serupa, LV yang mewah memilih Supreme, merek fashion pakaian jalanan atau streetwear yang terkenal secara global. Penelitian ini bertujuan untuk mengetahui bagaimana pengaruh Co-Branding Louis Vuitton dan Supreme terhadap minat pembelian konsumen pada 100 orang yang mengetahui kedua merek tersebut. Co-Branding dapat diukur melalui dimensi familiarity, attitudes toward the partner brands, dan perceived fit between the partner brands. Melalui penelitian secara kuantitatif, data kemudian diolah untuk diketahui korelasinya antar dua variabel.
    [Show full text]
  • Pentacle-40Th-Ann.-Gala-Program.Pdf
    40 Table of Contents Welcome What is the landscape for emerging artists? Thoughts from the Founding Director Past & Current Pentacle Artists Tribute to Past Pentacle Staff Board of Directors- Celebration Committee- Staff Body Wisdom: Pentacle Celebrates Forty Years Tonight’s Program & Performers Event Sponsors & Donors Greetings Welcome Thank you for joining us tonight and celebrating this 40th Anniversary! In 1976 we opened our doors with a staff of four, providing what we called “cluster management” to four companies. Our mission was then and remains today to help artists do what they do best….create works of art. We have steadfastlyprovided day-to-day administration services as well as local and national innovative projects to individual artists, companies and the broader arts community. But we did not and could not do it alone. We have had the support of literally hundreds of arts administrators, presenters, publicists, funders, and individual supporters. So tonight is a celebration of Pentacle, yes, and also a celebration of our enormously eclectic community. We want to thank all of the artists who have donated their time and energies to present their work tonight, the Rubin Museum for providing such a beautiful space, and all of you for joining us and supporting Pentacle. Welcome and enjoy the festivities! Mara Greenberg Patty Bryan Director Board Chair Thoughts from the Founding Director What is the landscape for emerging dance artists? A question addressed forty years later. There are many kinds of dance companies—repertory troupes that celebrate the dances of a country or re- gion, exquisitely trained ensembles that spotlight a particular idiom or form—classical ballet or Flamenco or Bharatanatyam, among other classicisms, and avocational troupes of a hundred sorts that proudly share the dances, often traditional, of a hundred different cultures.
    [Show full text]
  • Limited Edition: Collaborations Between Luxury Brands Alice Fregne, Linnea Björck, Lusiyana Dimitrova
    Limited Edition: Collaborations between luxury brands By: Alice Fregne, Linnea Björck, Lusiyana Dimitrova Limited edition: Collaborations between luxury brands Alice Fregne, Linnea Björck, Lusiyana Dimitrova Purpose: The purpose of this paper is to see what luxury brands gain from a limited-edition collaboration in terms of segment, positioning and target group and based on the identity prism, see what characteristics that are transferred from and to the brands in the collaboration. Design/methodology/approach: First a literature review is presented with relevant theories for the purpose of the paper. Luxury brands, co-branding, limited edition and brand identity are concepts of interest that are described and analyzed. Multiple case-studies were conducted and analyzed based on secondary data from websites in combination with academic articles and literature to be able to answer the research question. Findings: It is possible to draw some cross-case conclusions regarding reaching a new target group, however, we cannot determine whether this is also valid long-term or just during the collaboration. For two of the cases, a new segment was reached through the collaboration hence creating potential customers for both brands in the future. Regarding the positioning in customers' minds, it is difficult to say without collecting information from them, nevertheless, we can see that some brand characteristics have the potential to be transferred from and to the brands in the collaboration that they can benefit from long-term. Research limitations: The study is based on secondary data; therefore, it is difficult to determine if the limited-edition collaborations affected the brand characteristics from the senders’ side.
    [Show full text]
  • Christopher Wool Bibliography
    G A G O S I A N Christopher Wool Bibliography Selected Books and Catalogues: 2018 Wool, Christopher. Yard. Berlin: Holzwarth Publications. 2017 Siegel, Katy and Christopher Wool. Painting Paintings (David Reed) 1975. New York: Gagosian. Wool, Christopher. Westtexaspsychosculpture. Berlin: Holzwarth Publications. 2013 Brinson, Katherine et al. Christopher Wool. New York: Guggenheim Museum Publications. 2012 Cherix, Christophe. Print/Out: 20 Years in Print. New York: The Museum of Modern Art. Corbett, John and Fabrice Hergott. Christopher Wool. Berlin: Holzwarth Publications. ----------. The Painting Factory: Abstraction After Warhol. Los Angeles: The Museum of Contemporary Art. 2011 ----------. Art in the Streets. New York: Skira Rizzoli Publications, Inc. in association with the Museum of Contemporary Art, Los Angeles. Barrett, Terry. Making Art: Form and Meaning. New York: McGraw Hill Companies, Inc. ----------. Defining Contemporary Art – 25 Years in 200 Pivitol Artworks. London: Phaidon Press Limited. Doring, Jurgen. Power to the Imagination: Artists, Posters and Politics. Munich: Hirmer Verlag GmbH. Holzwarth, Hans Werner, and Laszlo Taschen, eds. Modern Art Volume 2: 1945-2000. Cologne: Taschen, 2011. Molesworth, Helen. This Will Have Been: Art, Love & Politics in the 1980s. New Haven and London: Museum of Contemporary Art Chicago and Yale University Press. Pincio, Tommaso. Christopher Wool: Roma Termini. New York: Gagosian Gallery. ----------. Peace Press Graphics: Art in the Pursuit of Social Change. Long Beach: University Art Museum, California State University. 2010 Bondaroff, Aaron, Glenn O’Brien, and James Jebbia. Supreme. New York: Rizzoli International Publications. Cooke, Lynne, Douglas Crimp, and Kristin Poor. Mixed Use, Manhattan: Photography and Related Practices, 1970s to the Present. Madrid: Museo Nacional Centro de Arte Reina Sofia.
    [Show full text]
  • Ephemera Labels WWAR EPHEMERA LABELS 1 EXTENDED LABELS
    We Wanted a Revolution: Black Radical Women, 1965-85 Ephemera Labels WWAR EPHEMERA LABELS 1 EXTENDED LABELS Larry Neal (Born 1937 in Atlanta; died 1981 in Hamilton, New York) “Any Day Now: Black Art and Black Liberation,” Ebony, August 1969 Jet, January 28, 1971 Printed magazines Collection of David Lusenhop During the Civil Rights and Black Power Movements, publications marketed toward black audiences chronicled social, cultural, and political developments, covering issues of particular concern to their readership in depth. The activities and development of the Black Arts Movement can be traced through articles in Ebony, Black World, and Jet, among other publications; in them, artists documented the histories of their collectives and focused on the purposes and significance of art made by and for people of color. WWAR EPHEMERA LABELS 2 EXTENDED LABELS Weusi Group Portrait, early 1970s Photographic print Collection of Ronald Pyatt and Shelley Inniss This portrait of the Weusi collective was taken during the years in which Kay Brown was the sole female member. She is seated on the right in the middle row. WWAR EPHEMERA LABELS 3 EXTENDED LABELS First Group Showing: Works in Black and White, 1963 Printed book Collection of Emma Amos Jeanne Siegel (Born 1929 in United States; died 2013 in New York) “Why Spiral?,” Art News, September 1966 Facsimile of printed magazine Brooklyn Museum Library Spiral’s name, suggested by painter Hale Woodruff, referred to “a particular kind of spiral, the Archimedean one, because, from a starting point, it moves outward embracing all directions yet constantly upward.” Diverse in age, artistic styles, and interests, the artists in the group rarely agreed; they clashed on whether a black artist should be obliged to create political art.
    [Show full text]
  • Business Model Innovation Between Tangible and Intangible Products
    Proceedings of the 11th Annual International Conference on Industrial Engineering and Operations Management Singapore, March 7-11, 2021 Business Model Innovation between Tangible and Intangible Products CHEN Si Graduate School of Business and Finance, Waseda University Tokyo, 1698050, Japan Faculty of Education Sciences, East China Normal University Shanghai, 200062, China [email protected] NAGASAWA Shin’ya Graduate School of Business and Finance, Waseda University Tokyo, 1698050 Japan [email protected] Abstract Highly valued in technology enhancement or product design, the business models of tangible and intangible products, however, are less concerned by academic researchers and entrepreneurial practices. The definition, characteristics and structure of these business models are still ambiguous. This article synthesizes the literature and draws conclusions. Combined with strategic design thinking, two core models are proposed for the two product types. These two business models, BMTP and BMIP, are illustrated by using four representative design companies as cases analysis. Implementation underpinnings of entrepreneurship education in Design Disciplines are explored in the suggestion part. Keywords: business model innovation, tangible and intangible products, entrepreneurship, strategy 1. Introduction A great increase on entrepreneurship in the field of technology turned up globally in the past thirty years, especially about the huge economic market and business trading platform to everyone. However, entrepreneurship and its education of tangible and intangible products are still in an unsystematic industrial chain, not merely for most designers usually concentrate on their products design, but also for they are totally unfamiliar with the knowledge of business as well as the entrepreneurship education in Design disciplines is in its infancy. As we know, the term “design” covers a wide range of disciplines, some of the common ones are architecture, engineering, exhibition, fashion, visual communications, interiors, multimedia, packaging.
    [Show full text]
  • Gullah Womanism in the Creative Works of African American Women
    i OOMAN’S WUK: GULLAH WOMANISM IN THE CREATIVE WORKS OF AFRICAN AMERICAN WOMEN by JUDITH LYNN STRATHEARN B. S. Rochester Institute of Technology, 1993 B.A., Metropolitan State College of Denver, 2004 M.A., University of Colorado at Boulder, 2008 A dissertation submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of English 2017 ii This dissertation entitled: Ooman’s Wuk: Gullah Womanism in the Creative Works of African American Women written by Judith Lynn Strathearn has been approved for the Department of English Adam F. Bradley (Committee Chair) Michael J. Preston (Committee Member) Date The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. iii ABSTRACT Strathearn, Judith Lynn (Ph.D., English) Ooman’s Wuk: Gullah Womanism in the Creative Works of African American Women Dissertation directed by Associate Professor Adam F. Bradley “Ooman’s Wuk: Gullah Womanism in the Creative Works of African American Women” investigates Gullah history and culture as a usable past for modern African American female artists. This project explores the history of rice production and the vital but under-discussed role of women that led to the African retentions still at work on the Sea Islands of South Carolina and Georgia. By exploring the often disavowed female roles, this dissertation argues that once acknowledged, the Gullah woman’s role as ‘keepa a da kulca’ formulates a Gullah womanism or a form of cultural and community activism that is found in the daily lives of the female descendants of Africans living on the Sea Islands.
    [Show full text]