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WSRC3290 ASCP 2018 Conference Program FA.Indd
AUSTRALASIAN SOCIETY FOR CONTINENTAL PHILOSOPHY ANNUAL CONFERENCE 2018 AUSTRALASIAN SOCIETY FOR CONTINENTAL PHILOSOPHY ANNUAL CONFERENCE 2018 ACKNOWLEDGMENT OF COUNTRY THANKS TO Western Sydney University would like to acknowledge the ≥ Professor Peter Hutchings, Dean of the School of Humanities Burramattagal people of the Darug tribe, who are the traditional and Communication Arts custodians of the land on which Western Sydney University at Jacinta Sassine and the student volunteers Parramatta stands. We respectfully acknowledge the Burramattagal ≥ people’s Ancestors and Elders, past and present and acknowledge ≥ Hannah Stark, Timothy Laurie and student volunteers their 60,000 year unceded occupation of these lands. who organized the PG event ≥ Panel organisers: Dr Suzi Adams and Dr Jeremy Smith; Professor WELCOME Thomas M. Besch; Professor Francesco Borghesi; Dr Sean Bowden; Associate Professor Diego Bubbio; Dr Millicent Churcher; Dr Richard The Conference Organising Committee for 2018 extends a warm Colledge; Dr Ingo Farin; Associate Professor Chris Fleming; Dr John welcome to all our international and Australian participants, and all Hadley; Professor Vanessa Lemm; Professor Li Zhi; Associate Professor others associated with the conference. The ASCP conference is this year hosted by Western Sydney University, at our new Parramatta David Macarthur; Associate Professor Sally Macarthur; Dr Jennifer City campus. The event has been planned and developed across Mensch; Professor Nick Mansfield; Dr Talia Morag; Associate Professor this year by members of the Philosophy Research Initiative. Eric S. Nelson; Professor Ping He; Dr Rebecca Hill; Associate Professor Janice Richardson and Dr Jon Rubin; Dr Marilyn Stendera; Dr Omid Tofighian; Professor Miguel Vatter and Dr Nicholas Heron; Dr Allison CONFERENCE ORGANIZING COMMITTEE Weir; Dr Magdalena Zolkos. -
Nature of Elliot Goldenthal's Music
The Nature of Elliot Goldenthal’s Music & A Focus on Alien 3 (& other scores) There is “something different” about Elliot Goldenthal’s music. There is also considerable brain and brawn in Elliot Goldenthal’s film music. His style is difficult to label because his approach is so eclectic depending on the project. Sometimes I feel he is fundamentally an independent art-house composer (perhaps Frida, say, and The Good Thief) although he can demonstrate thrilling orchestral power in scores such as Sphere and the Batman movies that I personally quite enjoyed. Overall he shows a Late Modernist temperament, musically an American Bohemian, but nevertheless grounded somewhat in the mainstream traditions (certainly at least traditional notation). His polystylism (eclectism) is a postmodern characteristic. An excellent example of polystylism is his score for Titus (and Good Thief to a lesser extent, and even an example or two in Alien 3) with the diverse or even odd juxtaposition of genres (symphonic-classical, rock, etc.) that represents in one score the type of projects he collectively undertook over the last fifteen years or so. There is not one clear-cut musical voice, in other words, but a mixture or fusion of different styles. It is, in part, his method of organization. Loosely speaking, his music is avant-garde but certainly not radically so--as in the case of John Cage with his aleatoric (random) music and quite non-traditional notation (although Goldenthal’s music can at select times be aleatoric in effect when he utilizes electronic music, quarter-toning, and other devices). He is experimental and freewheeling but certainly this tendency is not overblown and expanded into the infinite! He definitely takes advantage of what technology has to offer (MIDI applications, timbre sampling, synthesizer usage, etc.) but does not discard what traditions are useful for him to express his vision of musical art. -
Bruegel Notes Writing of the Novel Began October 20, 1998
Rudy Rucker, Notes for Ortelius and Bruegel, June 17, 2011 The Life of Bruegel Notes Writing of the novel began October 20, 1998. Finished first fully proofed draft on May 20, 2000 at 107,353 words. Did nothing for a year and seven months. Did revisions January 9, 2002 - March 1, 2002. Did additional revisions March 18, 2002. Latest update of the notes, September 7, 2002 64,353 Words. Table of Contents Table of Contents .................................................................................................... 1 Timeline .................................................................................................................. 9 Painting List .......................................................................................................... 10 Word Count ........................................................................................................... 12 Title ....................................................................................................................... 13 Chapter Ideas ......................................................................................................... 13 Chapter 1. Bruegel. Alps. May, 1552. Mountain Landscape. ....................... 13 Chapter 2. Bruegel. Rome. July, 1553. The Tower of Babel. ....................... 14 Chapter 3. Ortelius. Antwerp. February, 1556. The Battle Between Carnival and Lent......................................................................................................................... 14 Chapter 4. Bruegel. Antwerp. February, -
Outsiderism Publication.Pdf
Cover: Julian Martin, Untitled (Abstracted Animal on Blue), 2010 (detail) Pastel on paper, 15 x 11 1/4 inches OUTSIDERISM By Alex Baker Fleisher/Ollman, Philadelphia OUTSIDERISM explores the various manifestations of so-called outsider art in a contemporary context, examining the frameworks we use as both viewers and artists in making sense of the impulses responsible for a wide range of creativity. Outsider, self-taught, disabled, visionary, obsessive, art as therapy, vernacular: these are some of the categories we utilize, fraught as they might be, to sort out a vast array of work which stands in relief to the offerings made by artists who are more easily assimilated within mainstream contemporary art. Thus, Outsiderism is both the title of this exhibition, and a more general term that I am proposing to describe the current zeal in which the contemporary art field has made outsider art the focus of investigation. Outsiderism features work by artists with developmental disabilities and behavioral health issues from studio programs in Melbourne, Australia (Arts Project Australia) and Wilmington, Delaware (The Creative Vision Factory); Harrell Fletcher and Chris Johanson’s video collaboration with David Jarvey, an artist with Down’s Syndrome; drawings of protest and political allegories by Michael Patterson-Carver, an itinerant artist and activist; paintings and prints by Paul Laffoley exploring complex theories through diagrams, display charts and geometrically structured compositions in which text and image are woven together; and drawings by Gregory Blackstock that catalogue and classify objects and ideas important to the artist from foreign alphabets and speed boats to flags and fireworks. -
On Various Faces of Postmodernist Philosophical Thinking
DIALOGUE AND HUMANISM No. 4/1993 Stefan Morawski ON VARIOUS FACES OF POSTMODERNIST PHILOSOPHICAL THINKING 1. HOW TO DEAL WITH THE CONCEPT «POSTMODERNISM»? In the present text I wish to share my remarks primarily concerning postmodemism in its philosophical variation, yet it is unthinkable to cut oneself off from its two other — sociocultural and artistic — mutations. It is especially the sociocultural mutation that seems to me a cornerstone for the proper understanding of what the philosophical postmodernism is about. My first reflection concerns the legitimacy of the term and of the concept which —I surmise — refers one to the postmodemism as captioned by the sociologists of culture who describe the particular configuration of things and of qualities appropriate to them, that has crystallized itself in the social processes since the end of the 1970's. This reflection is, among others, imposed by these philosophers who are considered (and who consider themselves) as champions of postmodern- ism, for example J. F. Lyotard, U. Eco, W. Welsch; they hold that the concept of "postmodernism" is not to be literally understood: this is no successive phase in the aftermath of desiccation of modernist ways of thinking and behavior but merely a new manner of comprehending the world within the still living organism. Can the problem of the meaning of the "post-" prefix be solved — and then, how? Will it suffice to juxtapose the philosophical thought of modernists (which modernists, though? who is to be considered its typical representatives?), or is it necessary to admit the extra-philosophical frame of reference? Another reflection concerns the ancestry of this phenomenon, and its symptoms in philosophical considerations (Nota bene, it concerns both those authors who analyze postmodernism from a critical distance, as well as others who identify themselves with postmodernism). -
Transmodern Reconfigurations of Territoriality
societies Article Transmodern Reconfigurations of Territoriality, Defense, and Cultural Awareness in Ken MacLeod’s Cosmonaut Keep Jessica Aliaga-Lavrijsen Centro Universitario de la Defensa Zaragoza, Zaragoza 50090, Spain; [email protected] Received: 5 September 2018; Accepted: 17 October 2018; Published: 19 October 2018 Abstract: This paper focuses on the science fiction (SF) novel Cosmonaut Keep (2000)—first in the trilogy Engines of Light, which also includes Dark Light (2001) and Engines of Light (2002)—by the Scottish writer Ken MacLeod, and analyzes from a transmodern perspective some future warfare aspects related to forthcoming technological development, possible reconfigurations of territoriality in an expanding cluster of civilizations travelling and trading across distant solar systems, expanded cultural awareness, and space ecoconsciousness. It is my argument that MacLeod’s novel brings Transmodernism, which is characterized by a “planetary vision” in which human beings sense that we are interdependent, vulnerable, and responsible, into the future. Hereby, MacLeod’s work expands the original conceptualization of the term “Transmodernism” as defined by Rodríguez Magda, and explores possible future outcomes, showing a unique awareness of the fact that technological processes are always linked to political and power-related uses. Keywords: cultural awareness; future warfare; globalization; Fifth-Generation War; intergalactic territoriality; planetary civilizations; SF; space ecoconsciousness; speculative fiction; technological development; transmodernism “Where there is no vision, the people perish.” —Proverbs 29:18 “If these are the early days of a better nation there must be hope, and a hope of peace is as good as any, and far better than a hollow hoarding greed or the dry lies of an aweless god.” —Graydon Saunders 1. -
Download the Full Press Release
FOR IMMEDIATE RELEASE Media Contact: December 3, 2019 Josephine DiCesare Ensemble Español Spanish Dance Theater Digital Photos Available 773.442.5916 [email protected] ENSEMBLE ESPAÑOL CONTINUES YEAR-LONG SALUTE TO FOUNDER DAME LIBBY KOMAIKO IN HOLIDAY CONCERT/CONCIERTO NAVIDEÑO AT NEIU FINE ARTS AUDITORIUM DEC. 14-15 Program Includes Three World Premieres by Carlos Rodriguez, Ensemble Español Celebrates the Opening of the Dame Libby Komaiko Legacy Fund with Pre-Show Juerga Flamenca Fundraiser Dec. 14 CHICAGO — Ensemble Español Spanish Dance Theater presents Holiday Concert/Concierto Navideño at the Northeastern Illinois University Fine Arts Auditorium, 3701 W. Bryn Mawr 7:30 p.m. and Saturday, Dec. 14 and 3 p.m. Sunday, Dec. 15. The performances, featuring the full adult company and youth companies; José Barrios, guest Flamenco artist from Cordoba, Spain; U.S. guest soprano, Erica Rose Sauder and tenor Edgar Ricaud Saldivar, are part of the company’s year-long salute to founder Dame Libby Komaiko who passed away earlier this year. The program will include three world premieres choreographed by Carlos Rodriguez (“La Noche Sagrada,” “Solares,” Duende del Viento), whose two more recent works for Ensemble Español include "DeFalla, Out of the Box" (2017) and "Mar de Fuego" (2018); a U.S. Premiere, by Barrios (“Praecisus Umbilicus: Alegrias-Vidalita”); and popular selections from the company’s repertoire including Komaiko’s “Romance de Triana” and “La Era Romántica;” “El Baile de Luis Alonso,” choreographed by Ensemble Español Artistic Director Irma Suárez Ruiz; “Madrileño” choreographed by Ruiz (section 1 & 2) and Barcelona’s Paco Alonso, (section 3); “Danza del Molinero” choreographed by Antonio De Lucena and staged by Ensemble Español First Dancer José Torres; “Nuevamente Vivir (Live Again)” by former former principal of the National Ballet of Spain,Paloma Gómez; and “Horizonte (Horizon)” choreographed and performed by Principal Dancer Monica Saucedo in dedication to Ensemble’s late founder, Komaiko. -
CELEBRATING FORTY YEARS of FILMS WORTH TALKING ABOUT I Love the August Festivals, Though Not As Much As I Love Cinema
3 AUG 18 6 SEP 18 1 | 3 AUG 18 - 6 SEP 18 88 LOTHIAN ROAD | FILMHOUSECinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT I love the August festivals, though not as much as I love cinema. You? I usually take the opportunity when writing this column every August to grumble about how distracted potential cinema-goers appear to be by the world’s largest arts festival that takes place in our glorious (a word which currently also describes the weather!) city every year, but this year I’m seeing it as nothing more than a challenge. A challenge, dear reader, which I feel we have risen to in impressive style with a stunning array of great cinema, much of which is, as it happens, of a ‘one-off’ nature and will likely not come around again any time soon… That sounds like I’m trying to dragoon you into coming to the cinema in August (instead of going to the Tattoo, perhaps?), and conceivably I am, but try not to see it that way… Rather, I simply wouldn’t want you to miss out on any of the must-see cinema experiences contained within these pages. In any case, cinema is surely the best of all the art forms wouldn’t you say, as well as being one of the cheaper days/nights out? Beyond the form itself, with cinema, you rarely have to worry about not liking a film and it being apparent to the people who made it, because they’re generally not there in the room. -
ARCHIE COMICS Random House Adult Blue Omni, Summer 2012
ARCHIE COMICS Random House Adult Blue Omni, Summer 2012 Archie Comics Archie Meets KISS Summary: A highly unexpected pairing leads to a very Alex Segura, Dan Parent fun title that everyone’s talking about. Designed for both 9781936975044 KISS’s and Archie’s legions of fans and backed by Pub Date: 5/1/12 (US, Can.), On Sale Date: 5/1 massive publicity including promotion involving KISS $12.99/$14.99 Can. cofounders Gene Simmons and Paul Stanley, Archie 112 pages expects this title to be a breakout success. Paperback / softback / Trade paperback (US) Comics & Graphic Novels / Fantasy From the the company that’s sold over 1 billion comic books Ctn Qty: 0 and the band that’s sold over 100 million albums and DVDs 0.8lb Wt comes this monumental crossover hit! Immortal rock icons 363g Wt KISS join forces ... Author Bio: Alex Segura is a comic book writer, novelist and musician. Alex has worked in comics for over a decade. Before coming to Archie, Alex served as Publicity Manager at DC Comics. Alex has also worked at Wizard Magazine, The Miami Herald, Newsarama.com and various other outlets and websites. Author Residence: New York, NY Random House Adult Blue Omni, Summer 2012 Archie Comics Archie Meets KISS: Collector's Edition Summary: A highly unexpected pairing leads to a very Alex Segura, Dan Parent, Gene Simmons fun title that everyone’s talking about. Designed for both 9781936975143 KISS’s and Archie’s legions of fans and backed by Pub Date: 5/1/12 (US, Can.), On Sale Date: 5/1 massive publicity including promotion involving KISS $29.99/$34.00 Can. -
ICLA 2016 – Abstracts Group Session Panels Content Computational Comparative Literature
ICLA 2016 – Abstracts Group Session Panels, July 17th, 2016 ICLA 2016 – Abstracts Group Session Panels Content Computational Comparative Literature. Corpus-based Methodologies ................................................. 5 16082 - Assia Djebar et la transgression des limites linguistiques, littéraires et culturelles .................. 7 16284 - Pictures for Everybody! Postcards and Literature/ Bilder für alle! Postkarten und Literatur . 11 16309 - Talking About Literature, Scientifically..................................................................................... 14 16377 - Sprache & Rache ...................................................................................................................... 16 16416 - Translational Literature - Theory, History, Perspectives .......................................................... 18 16445 - Langage scientifique, langage littéraire : quelles médiations ? ............................................... 24 16447 - PANEL Digital Humanities in Comparative Literature, World Literature(s), and Comparative Cultural Studies ..................................................................................................................................... 26 16460 - Kolonialismus, Globalisierung(en) und (Neue) Weltliteratur ................................................... 31 16499 - Science et littérature : une question de langage? ................................................................... 40 16603 - Rhizomorphe Identität? Motivgeschichte und kulturelles Gedächtnis im -
Cartooning America: the Fleischer Brothers Story
NEH Application Cover Sheet (TR-261087) Media Projects Production PROJECT DIRECTOR Ms. Kathryn Pierce Dietz E-mail: [email protected] Executive Producer and Project Director Phone: 781-956-2212 338 Rosemary Street Fax: Needham, MA 02494-3257 USA Field of expertise: Philosophy, General INSTITUTION Filmmakers Collaborative, Inc. Melrose, MA 02176-3933 APPLICATION INFORMATION Title: Cartooning America: The Fleischer Brothers Story Grant period: From 2018-09-03 to 2019-04-19 Project field(s): U.S. History; Film History and Criticism; Media Studies Description of project: Cartooning America: The Fleischer Brothers Story is a 60-minute film about a family of artists and inventors who revolutionized animation and created some of the funniest and most irreverent cartoon characters of all time. They began working in the early 1900s, at the same time as Walt Disney, but while Disney went on to become a household name, the Fleischers are barely remembered. Our film will change this, introducing a wide national audience to a family of brothers – Max, Dave, Lou, Joe, and Charlie – who created Fleischer Studios and a roster of animated characters who reflected the rough and tumble sensibilities of their own Jewish immigrant neighborhood in Brooklyn, New York. “The Fleischer story involves the glory of American Jazz culture, union brawls on Broadway, gangsters, sex, and southern segregation,” says advisor Tom Sito. Advisor Jerry Beck adds, “It is a story of rags to riches – and then back to rags – leaving a legacy of iconic cinema and evergreen entertainment.” BUDGET Outright Request 600,000.00 Cost Sharing 90,000.00 Matching Request 0.00 Total Budget 690,000.00 Total NEH 600,000.00 GRANT ADMINISTRATOR Ms. -
Oasis Digital Studios and Apex Comics Group Partner with Comic-Book Industry Legends for New Multimedia Experiences and Nfts
Oasis Digital Studios and Apex Comics Group partner with Comic-Book Industry Legends for New Multimedia Experiences and NFTs Famed former Marvel Editor-in-ChiefTom DeFalco andartists Ron Frenz and Sal Buscema launch comic books, avatars, and AR enhanced NFT collectibles. Toronto / Vancouver, Canada / Erie PA / New York, NY – April 12, 2021 –Liquid Avatar Technologies Inc. (CSE: LQID / OTC:TRWRF / FRA:4T51) (“Liquid Avatar Technologies” or the “Company”,), a global blockchain, digital-identity and fintech solutions company, together with ImagineAR Inc. (CSE:IP / OTCQB:IPNFF), an Augmented Reality platform company, are excited to announce that Oasis Digital Studios (“Oasis”) has partnered with Apex Comics Group to publish Mr. Right, a new multimedia project by legendary Marvel Entertainment and pop culture veterans Tom DeFalco, Ron Frenz, and Sal Buscema. The program will consist of printed and digital comic books, digital avatars produced for the Liquid Avatar Mobile App and Marketplace, and AR enhanced NFT collectibles with Oasis. A sneak preview of the program will be made virtually on April 13th at the special presentation “NFTs Myths, Market, Media & Mania," hosted by Liquid Avatar, ImagineAR and Oasis Digital Studios: https://hello.liquidavatar.com/oasis-webinar-registration. The integrated campaign, expected to launch in early summer, will feature a series of limited- edition print and digital comic books, along with collector-enhanced NFTs, Liquid Avatar digital icons available in the Liquid Avatar Marketplace, and a fully immersive Augmented Reality multimedia program. A pre-sale waiting list is available for prospective purchasers and NFT collectors at the Oasis website: www.oasisdigitalstudios.com Mr. Right is led by Tom DeFalco, who was Marvel’s 10th Editor-in-Chief.