Fall 2018 Alumni Magazine
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Simone De Beauvoir's Photographic Journey Inspired by Her Diary, America Day by Day
Inspiration / Photography Simone de Beauvoir's photographic journey inspired by her diary, America Day by Day Written by Katy Cowan 22.01.2019 Esher Bubley, Coast to Coast, SONJ, 1947. @ Estate Esther Bubley / Courtesy Howard Greenberg Gallery / Sous Les Etoiles Gallery This month, Sous Les Etoiles Gallery in New York presents, 1947, Simone de Beauvoir in America, a photographic journey inspired by her diary, America Day by Day published in France in 1948. Curated by Corinne Tapia, director of the Gallery, the show aims to illustrate the depiction of De Beauvoir’s encounter with America at the time. In January of 1947, the French writer and intellectual, Simone de Beauvoir landed in New York’s La Guardia Airport, beginning a four-month journey across America. She travelled from East to the West coast by trains, cars and even Greyhound buses. She has recounted her travels in her personal diary and recorded every experience with minute detail. She stayed 116 days, travelling through 19 states and 56 cities. “The Second Sex”, published in 1949, became a reference in the feminist movement but has certainly masked the talent of diarist Simone de Beauvoir. The careful observer, endowed with a chiselled and precise writing style, travelling was central guidance of the existential experience for her, a woman with infinite curiosity, a thirst for experiencing and discovering everything. In 1929, she made her first trips to Spain, Italy and England with her lifelong partner, the French philosopher Jean-Paul Sartre. In 1947, she made, this time alone, her first trip to the United States, a trip that would have changed her life: "Usually, travelling is an attempt to annex a new object to my universe; this in itself is an undertaking: but today it’s different. -
20 Years of Innovative Admissions After the Last Curtain Call
THE OWL THE ALUMNI MAGAZINE OF COLUMBIA UNIVERSITY SCHOOL OF GENERAL STUDIES After the Last Curtain Call: Dancers In Transition Forecasting Success: Remembering 20 Years of Innovative Dean Emeritus Admissions Peter J. Awn 2019-2020 TABLE OF CONTENTS THE OWL LETTER FROM THE DEAN THE ALUMNI MAGAZINE OF COLUMBIA UNIVERSITY SCHOOL OF GENERAL STUDIES Lisa Rosen-Metsch ’90 Dean Curtis Rodgers Vice Dean Jill Galas Hickey Associate Dean for Development and Alumni Relations Aviva Zablocki Director of Alumni Relations 18 14 12 Editor Dear GS Alumni and Friends, Allison Scola IN THIS ISSUE Communications, Special Projects As I reflect upon the heartbreak and challenges we have faced her network in the fashion industry to produce and donate PPE to frontline medical workers, to name just two of our alumni who Feature Story 14 The Transitional Dance since the last printing of The Owl, I am struck by my feelings of Since childhood, most professional dancers sacrificed, showed Contributors pride in how our amazing and resilient GS community has risen have made significant contributions. discipline, and gave themselves over dreams that required laser to meet these moments. When I step back, our school motto, Adrienne Anifant Lux Meanwhile, the accomplishments of members of our community focus on their goals. But what happens when their dream careers —the light shines in the darkness—is taking on Eileen Barroso in Tenebris Lucet extend across industries and causes. Poet Louise Glück, who are closer to the end than the beginning? new meaning. From the tragic loss of our beloved Dean Emeritus Nancy J. Brandwein attended GS in the 1960s, recently was awarded the Nobel Prize Peter J. -
Maximizing Shareholder Value and the Greater Good
MADDEN “…an important contribution to understanding the growth, development and performance of companies over time Maximizing Shareholder Value and how it relates to stock valuations. I see it as a handbook on understanding investment, and I intend to apply these And insights myself.” Vernon L. Smith MAXIMIZING SHAREHOLDERVALUEANDTHE GREATER GOOD The Greater Good Nobel Laureate in Economics 2002 Professor of Economics and Law George Mason University and Rasmuson Distinguished Visiting Chair in Economics University of Alaska, Anchorage “…a magisterial summary of the analytic framework that will enable corporate boards and managers to move beyond the tired cliché of ‘maximizing shareholder value’… ” Firms' Competitive Life-cycle Robert Z. Aliber Professor of International Economics Firms’ Competitive Life-cycle and Finance Emeritus Graduate School of Business University of Chicago “I was amazed as I read Bart Madden’s treatise on long term cash flow return versus meeting Wall Street’s quarterly expectations….” T. J. Rodgers Chief Executive Officer Cypress Semiconductor Corporation LearningWhat Works® http://www.LearningWhatWorks.com Bartley J Madden cover_8.5x11.indd 1 9/29/05 3:59:02 PM Maximizing Shareholder Value And The Greater Good book_layout.indd 1 9/29/05 3:51:10 PM Copyright 2005 Bartley J. Madden All rights reserved Published by LearningWhatWorks, Naperville, Illinois Printed in the United States of America Madden, Bartley J., 1943— Maximizing Shareholder Value And The Greater Good / Bartley J. Madden —1st edition pp. 64 (acid free paper) Includes bibliographical references and 19 illustrations ISBN-13: 978-0-9772488-0-3 ISBN-10: 0-9772488-0-1 Library of Congress Control Number: 2005932216 book_layout.indd 2 9/29/05 3:51:10 PM iii Contents Commentaries v Introduction ix 1. -
Oral History Interview with Roy Emerson Stryker, 1963-1965
Oral history interview with Roy Emerson Stryker, 1963-1965 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Roy Stryker on October 17, 1963. The interview took place in Montrose, Colorado, and was conducted by Richard Doud for the Archives of American Art, Smithsonian Institution. Interview Side 1 RICHARD DOUD: Mr. Stryker, we were discussing Tugwell and the organization of the FSA Photography Project. Would you care to go into a little detail on what Tugwell had in mind with this thing? ROY STRYKER: First, I think I'll have to raise a certain question about your emphasis on the word "Photography Project." During the course of the morning I gave you a copy of my job description. It might be interesting to refer back to it before we get through. RICHARD DOUD: Very well. ROY STRYKER: I was Chief of the Historical Section, in the Division of Information. My job was to collect documents and materials that might have some bearing, later, on the history of the Farm Security Administration. I don't want to say that photography wasn't conceived and thought of by Mr. Tugwell, because my backround -- as we'll have reason to talk about later -- and my work at Columbia was very heavily involved in the visual. -
Preview Issue, the American Historian
PREVIEW ISSUE: APRIL 2014 The American Historian ORGANIZATION OF AMERICAN HISTORIANS The ACT of HISTORY The Promise and Pitfalls of Historic Portrayals ALSO INSIDE Finding Time for Social Media p. 8 The Vexing Challenges of Contingent Historians p. 10 Writing History with Emotion p. 12 Reviews p. 28 Career and family... We’ve got you covered. Organization of American Historians’ member insurance plans and services have been carefully chosen for their valuable benefits at competitive group rates from a variety of reputable, highly-rated carriers. Professional Home & Auto • Professional Liability • GEICO Automobile Insurance • Private Practice Professional Liability • Homeowners Insurance • Student Educator Professional Liability • Pet Health Insurance Health Life • TIE Health Insurance Exchange • New York Life Group Term • New York Life Group Accidental Death Life Insurance† & Dismemberment Insurance† • New York Life 10 Year Level • Cancer Insurance Plan Group Term Life Insurance† • Medicare Supplement Insurance • Educators Dental Plan † Underwritten by New York Life Insurance Company, New York, NY 10010 Policy Form GMR. Please note: Not all plans are available in all states. Trust for Insuring Educators Administered by Forrest T. Jones & Company (800) 821-7303 • www.ftj.com/OAH Personalized Long Term Care Insurance Evaluation Featuring top insurance companies and special discounts. This advertisement is for informational purposes only and is not meant to define, alter, limit or expand any policy in any way. For a descriptive brochure that summarizes features, costs, eligibility, renewability, limitations and exclusions, call Forrest T. Jones & Company. Arkansas producer license #71740, California producer license #0592939. 2 The American Historian | April 2014 #6608 0314 6608 OAH All Coverage Ad.indd 1 2/26/14 3:46 PM Career and family.. -
Documenting the Dissin's Guest House: Esther Bubley's Exploration of Jewish-American Identity, 1942-43
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2013-06-03 Documenting the Dissin's Guest House: Esther Bubley's Exploration of Jewish-American Identity, 1942-43 Vriean Diether Taggart Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Taggart, Vriean Diether, "Documenting the Dissin's Guest House: Esther Bubley's Exploration of Jewish- American Identity, 1942-43" (2013). Theses and Dissertations. 3599. https://scholarsarchive.byu.edu/etd/3599 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Documenting the Dissin’s Guest House: Esther Bubley’s Exploration of Jewish- American Identity, 1942-43 Vriean 'Breezy' Diether Taggart A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts James Russel Swensen, Chair Marian E. Wardle Heather Jensen Department of Visual Arts Brigham Young University May 2013 Copyright © 2013 Vriean 'Breezy' Diether Taggart All rights reserved ABSTRACT Documenting the Dissin’s Guest House: Esther Bubley’s Exploration of Jewish- American Identity, 1942-43 Vriean 'Breezy' Diether Taggart Department of Visual Arts Master of Arts This thesis considers Esther Bubley’s photographic documentation of a boarding house for Jewish workingmen and women during World War II. An examination of Bubley’s photographs reveals the complexities surrounding Jewish-American identity, which included aspects of social inclusion and exclusion, a rejection of past traditions and acceptance of contemporary transitions. -
FSA Photographers in Indiana
Websites about FSA Photographers in Indiana Esther Bubley Carnegie Library of Philadelphia: The Photographers http://www.clpgh.org/exhibit/photog6.html Esther Bubley, Photojournalist. http://estherbubley.com/ Women Come to the Front: Journalists, Photographers and Broadcasters during WWII: Esther Bubley http://www.loc.gov/exhibits/wcf/wcf0012.html Women Photojournalists: Esther Bubley http://www.loc.gov/rr/print/coll/womphotoj/bubleyintro.html Paul Carter The Carters of Yorkshire: As they relate to "The Rectory Family" and beyond http://www.cartertools.com/cartyork.html Jack Delano Center for Railroad Art and Photograph http://www.railphoto-art.org/galleries/delano.html Chicago Rail Photographs of Jack Delano: Chicago Reader http://www.chicagoreader.com/TheBlog/archives/2010/09/03/the-chicago-rail-photographs-of- jack-delano Jack Delano at the Museum of Contemporary Photography http://www.mocp.org/collections/permanent/delano_jack.php Smithsonian Archives of American Art: Interview with Jack Delano http://www.aaa.si.edu/collections/oralhistories/transcripts/delano65.htm Indiana Farm Security Administration Photographs Digital Collection http://www.ulib.iupui.edu/IFSAP FSA Photographers in Indiana - 2 Theodor Jung Theodor Jung Photo Collection http://www.shorpy.com/image/tid/124 Dorothea Lange America’s Stories from America’s Library: Dorothea Lange http://www.americaslibrary.gov/aa/lange/aa_lange_subj.html The Art Department of the Oakland Museum of California Dorothea Lange Collection: http://www.museumca.org/global/art/collections_dorothea_lange.html -
Data, Privacy, and the Greater Good
ARTIFICIAL INTELLIGENCE POLICY FORUM Even when not category-jumping, machine learning can be used to draw powerful and compromising in- ferences from self-disclosed, seemingly benign data or readily observed behavior. These inferences can un- Data, privacy, and the greater good dermine a basic goal of many privacy laws—to allow Eric Horvitz1* and Deirdre Mulligan2* individuals to control who knows what about them. Machine learning and inference makes it increasingly Large-scale aggregate analyses of anonymized data can yield valuable results and insights that difficult for individuals to understand what others can address public health challenges and provide new avenues for scientific discovery. These methods know about them based on what they have explicitly can extend our knowledge and provide new tools for enhancing health and wellbeing. However, they or implicitly shared. And these computer-generated raise questions about how to best address potential threats to privacy while reaping benefits for channels of information about health conditions individuals and to society as a whole.The use of machine learning to make leaps across informational join other technically created fissures in existing legal and social contexts to infer health conditions and risks from nonmedical data provides protections for health privacy. In particular, it is dif- representative scenarios for reflections on directions with balancing innovation and regulation. ficult to reliably deidentify publicly shared data sets, given the enormous amount and variety of ancillary hat if analyzing Twitter tweets or Face- Although digital nudging shows promise, a re- data that can be used to reidentify individuals. book posts could identify new mothers cent flare-up in the United Kingdom highlights The capacities of machine learning expose the fun- at risk for postpartum depression (PPD)? the privacy concerns it can ignite. -
Alpha and the History of Digital Compositing
Alpha and the History of Digital Compositing Technical Memo 7 Alvy Ray Smith August 15, 1995 Abstract The history of digital image compositing—other than simple digital imple- mentation of known film art—is essentially the history of the alpha channel. Dis- tinctions are drawn between digital printing and digital compositing, between matte creation and matte usage, and between (binary) masking and (subtle) mat- ting. The history of the integral alpha channel and premultiplied alpha ideas are pre- sented and their importance in the development of digital compositing in its cur- rent modern form is made clear. Basic Definitions Digital compositing is often confused with several related technologies. Here we distinguish compositing from printing and matte creation—eg, blue-screen matting. Printing v Compositing Digital film printing is the transfer, under digital computer control, of an im- age stored in digital form to standard chemical, analog movie film. It requires a sophisticated understanding of film characteristics, light source characteristics, precision film movements, film sizes, filter characteristics, precision scanning de- vices, and digital computer control. We had to solve all these for the Lucasfilm laser-based digital film printer—that happened to be a digital film input scanner too. My colleague David DiFrancesco was honored by the Academy of Motion Picture Art and Sciences last year with a technical award for his achievement on the scanning side at Lucasfilm (along with Gary Starkweather). Also honored was Gary Demos for his CRT-based digital film scanner (along with Dan Cam- eron). Digital printing is the generalization of this technology to other media, such as video and paper. -
The Mahābhārata: the Epic of the Greater Good
Mahābhārata: the the ejamespic l. fitzgerald of the greater good 27th j. gonda lecture 2019 The : the epic of the greater good Mahābhārata 27th J. Gonda Lecture 2019 1 The : the epic of the greater good Mahābhārata 27th J. Gonda Lecture 2019 © 2020 Royal Netherlands Academy of Arts and Sciences Some rights reserved. License, Attribution 3.0 Netherlands. To view a copy of this licence, visit: Usage and distribution of this work is defined in the Creative Commons http://www.creativecommons.org/licenses/by/3.0/nl/ Royal Netherlands Academy of Arts and Sciences T +31 (0)20 551 0700 P.O. Box 19121, NL-1000 GC Amsterdam [email protected] www.knaw.nl pdf available on www.knaw.nl Typesetting: Ellen Bouma Illustration cover: The wrath of Jarasandha at Mathura, Indian miniature (tbetween 1850-1900), Kangra, India. Rijksmuseum Amsterdam, inv. no. RP- T-1979-33. Preferred citation: James L. Fitzgerald (2020). The : the epic of the greater good. Amsterdam, J. Gonda Fund Foundation of the KNAW. Mahābhārata ISBN 978-90-6984-738-2 2 The : the epic of the greater good Mahābhārata 27th J. Gonda Lecture 2019 james l. fitzgerald The Mahābhārata: the epic of the greater good September 2020 3 The : the epic of the greater good Mahābhārata 27th J. Gonda Lecture 2019 The Mahābhārata: the epic of the greater good1 My subject here is some portion of the way that the Sanskrit Mahābhārata (MBh) deals with violence and aggression on the part of the armed stratum of society. In spite of being a vast epic of war, some important parts of the MBh made a sustained effort to ‘soothe the savage breast’ of humankind with epic ślokas 2 How success- ful this effort was across the past two millennia of South Asian civilization is , to borrow a phrase from William Congreve. -
MONSTERS INC 3D Press Kit
©2012 Disney/Pixar. All Rights Reserved. CAST Sullivan . JOHN GOODMAN Mike . BILLY CRYSTAL Boo . MARY GIBBS Randall . STEVE BUSCEMI DISNEY Waternoose . JAMES COBURN Presents Celia . JENNIFER TILLY Roz . BOB PETERSON A Yeti . JOHN RATZENBERGER PIXAR ANIMATION STUDIOS Fungus . FRANK OZ Film Needleman & Smitty . DANIEL GERSON Floor Manager . STEVE SUSSKIND Flint . BONNIE HUNT Bile . JEFF PIDGEON George . SAM BLACK Additional Story Material by . .. BOB PETERSON DAVID SILVERMAN JOE RANFT STORY Story Manager . MARCIA GWENDOLYN JONES Directed by . PETE DOCTER Development Story Supervisor . JILL CULTON Co-Directed by . LEE UNKRICH Story Artists DAVID SILVERMAN MAX BRACE JIM CAPOBIANCO Produced by . DARLA K . ANDERSON DAVID FULP ROB GIBBS Executive Producers . JOHN LASSETER JASON KATZ BUD LUCKEY ANDREW STANTON MATTHEW LUHN TED MATHOT Associate Producer . .. KORI RAE KEN MITCHRONEY SANJAY PATEL Original Story by . PETE DOCTER JEFF PIDGEON JOE RANFT JILL CULTON BOB SCOTT DAVID SKELLY JEFF PIDGEON NATHAN STANTON RALPH EGGLESTON Additional Storyboarding Screenplay by . ANDREW STANTON GEEFWEE BOEDOE JOSEPH “ROCKET” EKERS DANIEL GERSON JORGEN KLUBIEN ANGUS MACLANE Music by . RANDY NEWMAN RICKY VEGA NIERVA FLOYD NORMAN Story Supervisor . BOB PETERSON JAN PINKAVA Film Editor . JIM STEWART Additional Screenplay Material by . ROBERT BAIRD Supervising Technical Director . THOMAS PORTER RHETT REESE Production Designers . HARLEY JESSUP JONATHAN ROBERTS BOB PAULEY Story Consultant . WILL CSAKLOS Art Directors . TIA W . KRATTER Script Coordinators . ESTHER PEARL DOMINIQUE LOUIS SHANNON WOOD Supervising Animators . GLENN MCQUEEN Story Coordinator . ESTHER PEARL RICH QUADE Story Production Assistants . ADRIAN OCHOA Lighting Supervisor . JEAN-CLAUDE J . KALACHE SABINE MAGDELENA KOCH Layout Supervisor . EWAN JOHNSON TOMOKO FERGUSON Shading Supervisor . RICK SAYRE Modeling Supervisor . EBEN OSTBY ART Set Dressing Supervisor . -
Hereby the Screen Stands in For, and Thereby Occludes, the Deeper Workings of the Computer Itself
John Warnock and an IDI graphical display unit, University of Utah, 1968. Courtesy Salt Lake City Deseret News . 24 doi:10.1162/GREY_a_00233 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_a_00233 by guest on 27 September 2021 The Random-Access Image: Memory and the History of the Computer Screen JACOB GABOURY A memory is a means for displacing in time various events which depend upon the same information. —J. Presper Eckert Jr. 1 When we speak of graphics, we think of images. Be it the windowed interface of a personal computer, the tactile swipe of icons across a mobile device, or the surreal effects of computer-enhanced film and video games—all are graphics. Understandably, then, computer graphics are most often understood as the images displayed on a computer screen. This pairing of the image and the screen is so natural that we rarely theorize the screen as a medium itself, one with a heterogeneous history that develops in parallel with other visual and computa - tional forms. 2 What then, of the screen? To be sure, the computer screen follows in the tradition of the visual frame that delimits, contains, and produces the image. 3 It is also the skin of the interface that allows us to engage with, augment, and relate to technical things. 4 But the computer screen was also a cathode ray tube (CRT) phosphorescing in response to an electron beam, modified by a grid of randomly accessible memory that stores, maps, and transforms thousands of bits in real time. The screen is not simply an enduring technique or evocative metaphor; it is a hardware object whose transformations have shaped the ma - terial conditions of our visual culture.