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The Healthcare Riskops Manifesto
The Healthcare RiskOps Manifesto “Committees are, by nature, timid. They are based on the premise of safety in numbers; content to survive inconspicuously, rather than take risks and move independently ahead. Without independence, without the freedom for new ideas to be tried, to fail, and to ultimately succeed, the world will not move ahead, but rather live in fear of its own potential” Ferdinand Porsche And you may ask yourself, "How do I work this?" And you may ask yourself, "Where is that large automobile?" And you may tell yourself, "This is not my beautiful house." And you may tell yourself, "This is not my beautiful wife." David Byrne The End is Near “People of Earth, hear this!” A specter is haunting healthcare. And we’ve got work to do. It’s about challenging the old assumptions of managing risk because nothing has changed. Yet, everything has changed. It’s about heralding a new vision because the old one doesn’t work. Change creates opportunities. Change drives outcomes. And healthcare needs secure outcomes. Healthcare risk needs change. We must challenge assumptions: identity, role, purpose, place, power. Change built on strong beliefs that will upset the status quo. We don’t care. We are focused on moving the industry forward. Le risque est avant-gardiste. Futurism. Vorticism. Dada. Surrealism. Situationism. Neoism. Risk the Elephant. Uncaged. Risk is Nazaré. It’s a red balloon. Risk is sunflower fields. And fire on the mountain. Risk guides the first decision. It’s as old as Eden. Fight. Or flight. Risk is nucleotide. To ego. -
Carnegie Council for Ethics in International Affairs
CARNEGIE COUNCIL ANNUAL REPORT 2015 Studiojumpee / Shutterstock .com TABLE OF CONTENTS Page 1 Page 12 Page 24 Mission and Purpose Education Section Carnegie New Leaders Page 2 Page 14 Page 25 Letter from Stephen D. Calendar of Events, Podcasts, Global Ethics Fellows Hibbard, Vice Chairman of the and Interviews Board of Trustees Page 26 Page 20 Ethics Fellows for the Future Page 4 Financial Summary Letter to 2114 from Joel H. Page 28 Rosenthal, Carnegie Council Page 21 Officers, Trustees, and President A Special Thank You to our Committees Supporters Page 6 Page 29 Highlights Page 22 Staff List 2014 –2015 Contributors TEXT EDITOR: MADELEINE LYNN DESIGN: DENNIS DOYLE PHOTOGRAPHY: GUSTA JOHNSON PRODUCTION: DEBORAH CARROLL MISSION AND PURPOSE Carnegie Council for Ethics in International Affairs works to foster a global conversation on ethics, faith, and politics that bridges cultures, ethnicities, and religions. Broadcasting across a spectrum of media channels, Carnegie Council brings this conversation directly to the people through their smartphones, tablets, laptops, televisions, and earbuds. WE CONVENE: The world’s leading thinkers in conversations about global issues WE COMMUNICATE: The best ideas in ethics to a global audience. WE CONNECT: Different communities through exploring shared values. Carnegie Council: Making Ethics Matter 1 LETTER FROM STEPHEN D. HIBBARD, VICE CHAIRMAN OF THE BOARD OF TRUSTEES Dear Friends, This past year, with the glow of the wonderful two-year celebration of the 100th Anniversary of its founding still lingering, the Carnegie Council energetically began its second century of work. The Council’s longevity is remarkable in itself since institutions, like nations, rise and fall. -
FOR IMMEDIATE RELEASE: January 9, 2019 Mitchell Algus 516-639-4918 (Cell) [email protected]
FOR IMMEDIATE RELEASE: January 9, 2019 Mitchell Algus 516-639-4918 (cell) [email protected] BACKROOM SOLO by OLD MASTER OF NEW MEDIA Jan. 12 - Feb. 17 NEW YORK, NY (1/9/19) — The Mitchell Algus Gallery is pleased to announce a Backroom Solo Exhibition of Surreal to Conceptual Photo-Morphs by “Old Master of New Media,” Barbara Rosenthal. An opening reception will be held on Saturday, January 12th from 6-8pm. The artist will also be present in the gallery to talk with visitors on Sat., Jan. 19, 4-6pm, and the show will run through Feb. 17th. The exhibition features a selection of six 26”x40” digitally printed, manipulated distortions of full-frame analog 35mm photographs from her ongoing series Surreal Photos hung as a contiguous installation, and several 16”x20” Surreal to Conceptual Photo-Morphs: Wafting Sheafs. In each rectangularly framed work, trapezoidal straight or curving slices of dreamlike reality appear to thrust or twist or descend through space. Photographed in international locations, often at night, the subject matter — a horse, a tower, a staircase, a doorway, a church, a roof, a window, a bird — resonates with the viewer’s own psychological undercurrent. The negative space in each plays as dominant a role as the shapes and iconography. Hung contiguously, with the images at different levels within the frames, they form individual multi-block pieces. These configurations bring a musical lilt and implied narrative to her photo-based installations. continued --> Mitchell Algus Gallery 132 Delancey Street (enter on Norfolk) New York, NY 10002 cell: 516-639-4918 email: [email protected] pg. -
Agregue Y Devuelva, MAIL ART En Las Colección Del MIDE-CIANT/UCLM
AGREGUE Y DEVUELVA MAIL ART en las colecciones del MIDE-CIANT/UCLM © de los textos e ilustraciones: sus autores. © de la edición: Universidad de Castilla-La Mancha. Textos de: José Emilio Antón, Ibírico, Ana Navarrete Tudela, Sylvia Ramírez Monroy, César Reglero y Pere Sousa. Edita: Ediciones de la Universidad de Castilla-La Mancha, MIDE-CIANT y Fundación Antonio Pérez. Colección CALEIDOSCOPIO n.º 17. Serie Cuadernos del Media Art. Dir.: Ana Navarrete Tudela Equipo de documentación: Ana Alarcón Vieco, Roberto J. Alcalde López y Clara Rodrigo Rodríguez. Fotografías: Montserrat de Pablo Moya Corrección de textos: Antonio Fernández Vicente I.S.B.N.: 978-84-9044-421-4 (Edición impresa) I.S.B.N.: 978-84-9044-422-1 (Edición electrónica) Doi: http://doi.org/10.18239/caleidos_2021.17.00 D.L.: CU 11-2021 Esta editorial es miembro de la UNE, lo que garantiza la difusión y comercialización de sus publicaciones a nivel nacional e internacional. Diseño y maquetación: CIDI (UCLM) Impresión: Trisorgar Artes Gráficas Hecho en España (U.E.) – Made in Spain (E.U.) Esta obra se encuentra bajo una licencia internacional Creative Commons CC BY 4.0. Cualquier forma de reproducción, distribución, comunicación pública o transformación de esta obra no incluida en la licencia Creative Commons CC BY 4.0 solo puede ser realizada con la autorización expresa de los titulares, salvo excepción prevista por la ley. Puede Vd. acceder al texto completo de la licencia en este enlace: https://creativecommons.org/licenses/by/4.0/deed.es EXPOSICIONES: Comisariado: Patricia Aragón Martín, Ana Navarrete Tudela, Montserrat de Pablo Moya Coordinación: Ana Navarrete Tudela Ayudantes de coordinación: Adoración Saiz Cañas, Ana Alarcón Vieco, Ignacio Page Valero Dirección de montaje: MIDE-CIANT/UCLM, Fundación Antonio Pérez, ArteTinta Digitalización: Ana Alarcón Vieco, Patricia Aragón y Clara Rodrigo Rodríguez Montaje y transporte: ArteTinta Centros: Sala ACUA, Cuenca. -
(UK) School of Theatre
TRE EA G.UK H OR E. E TR TR T HEA HEA T lt A Y R A tot OR EMP 2008–09 | ONT R E G C in P WINT lo E 04 | V UE - DE E ISS TR 20 | HEA T L A tot VOLUME TOTAL MAGAZINE DAY OF THE DEAD – MEET THE YOUNG THEATRE COMPANIES TACKLING BEREAVEMENT SPECTRES A GO-GO AS WE HAVE WORDS WITH THE SPECTACULAR TIM ETCHELLS OF FORCED ENTERTAINMENT VENTURE INTO THE FOREST IN EdINBURGH AND GO ON A FABULOUS WALK IN DEVON TAKE A TRIP TO NEW LIFE BERLIN – WOOLOO! FIND OUT ABOUT THE TOTAL THEATRE AWARDS 2008 WITH REPORTS AND REVIEWS A-PLENTY READ ALL ABOUT IT – NEWS OF THE LONDON INTERNATIONAL MIME FESTIVAL, COMPANY UPDATES, AND MORE THEATRE MAGAZINE – TAKING YOU THROUGH THE DARK DAYS AND TOWARDS THE BRIGHT LIGHTS OF NEW PERFORMANCE TOTAL £5 totAltHEATRE.ORG.UK 3 TOTAL THEATRE MAGAZINE VOLUME 20 | ISSUE 04 | WINTER 2008–09 TOTAL THEATRE VOLUME 21 ISSUE 01 WILL BE PUBLISHED FEBRUARY 2009 EDITORIAL CONTENTS My first ‘job’ in ‘the arts’ was at the Institute of REGULARS TOTAL THEATRE MAGAZINE Contemporary Arts (ICA) in London. Those words are in quote marks because this was in the days Editor (mid 70s) when the talk was of art, not the arts, News & Previews P05 DOROTHY MAX PRIOR and making and presenting art was seen as a Performer & Company Updates P08 [email protected] vocation rather than a career. Divisions between Out & About P10 departments at the ICA were pretty loose then. Editorial Forum Pippa Bailey ROBERT AYERS In our view it was all art. -
Real.Izing the Utopian Longing of Experimental Poetry
REAL.IZING THE UTOPIAN LONGING OF EXPERIMENTAL POETRY by Justin Katko Printed version bound in an edition of 20 @ Critical Documents 112 North College #4 Oxford, Ohio 45056 USA http://plantarchy.us REEL EYE SING THO YOU DOH PEON LAWN INC O V.EXPER(T?) I MEANT ALL POET RE: Submitted to the School of Interdisciplinary Studies (Western College Program) in partial fulfillment of the requirements for the degree of Bachelor of Philosophy Interdisciplinary Studies by Justin Katko Miami University Oxford, Ohio April 10, 2006 APPROVED Advisor: _________________ Xiuwu Liu ABSTRACT Capitalist social structure obstructs the potentials of radical subjectivities by over-determining life as a hierarchy of discrete labors. Structural analyses of grammatical syntax reveal the reproduction of capitalist social structure within linguistic structure. Consider how the struggle of articulation is the struggle to make language work.* Assuming an analog mesh between social and docu-textual structures, certain experimental poetries can be read as fractal imaginations of anarcho-Marxist utopianism in their fierce disruption of linguistic convention. An experimental poetry of radical political efficacy must be instantiated by and within micro-social structures negotiated by practically critical attentions to the material conditions of the social web that upholds the writing, starting with writing’s primary dispersion into the social—publishing. There are recent historical moments where such demands were being put into practice. This is a critical supplement to the first issue of Plantarchy, a hand-bound journal of contemporary experimental poetry by American, British, and Canadian practitioners. * Language work you. iii ...as an object of hatred, as the personification of Capital, as the font of the Spectacle. -
Neoist Interruptus and the Collapse of Originality
Neoist Interruptus and the Collapse of Originality Stephen Perkins 2005 Presented at the Collage As Cultural Practice Conference, University of Iowa, March 26th, Iowa City Tracing the etymology of the word collage and its compound colle becomes a fascinating journey that branches out into a number of different directions all emanating from the act of gluing things together. After reading a number of definitions that detail such activities as sticking, gluing, pasting, adhering, and the utilization of substances such as gum (British), rubber cement (US) and fish glue, one comes upon another meaning of a rather different order. In France collage has a colloquial usage to describe having an affair, and colle more specifically means to live together or to shack up together.1 While I lay no great claims to any expertise in the area of linguistic history, I would suggest that this vernacular meaning of colle arises when living together would have generated far more excitement than the term, and the activity, generates today. And, while the dictionary definition of the word does not support the interpretation that I am going to suggest here, I would argue that its usage in its original context would have generated a very particular kind of frisson that would have been implicitly associated with the act of two people being collaged or glued together, in other words fucking, or to fuck, or simply fuck. What has this to do with a paper on collage as cultural intervention, you might ask? It’s simple really, well relatively. My subject is a late 20th century international avant-garde movement known as the Neoist Cultural Conspiracy (Neoism for short), which I would argue is the last of the historic avant-gardes of the 20th century. -
Echoes 3 Program.Qxd
Mint Theater Company Jonathan Bank Artistic Director Ted Altschuler Associate Director Kj Swanson Assistant to the Artistic Director Rochele Tillman Box Office Manager Jim Creighton Box Office Assistant Sherri Kotimsky Bookkeeper Aaron Lenehan Website Design Board of Trustees Board of Advisors Geoffrey Chinn, President John A. Booth Elsa A. Solender, Secretary J. Ellen Gainor Linda Calandra Charles Keating Carol Chinn Austin Pendleton Jon Clark George Morfogen Toehl Harding David Rothenberg Eleanor Reissa Gary Schonwald M. Elisabeth Swerz Kate Weingarten Jonathan Bank “When it comes to the library,” our 2001 Obie cita- tion states, “there’s no theater more adventurous.” In 2002 the Mint was awarded a special Drama Desk Award for “unearthing, presenting and preserving forgotten plays of merit.” MINT THEATER COMPANY commits to bringing new vitality to worthy but neglected plays. We excavate buried theatrical treasures; reclaiming them for our time through research, dramaturgy, production, publication and a variety of enrich- ment programs; and we advocate for their ongoing life in theaters across the world. Mint has a keen interest in timeless but timely plays that make us feel and think about the moral quality of our lives and the world in which we live. Our aim is to use the engaging power of the theater to excite, provoke, influence and inspire audi- ences and artists alike. 311 West 43rd St. 5th floor New York, NY 10036 www.minttheater.org Box Office: (212) 315-0231 James & Jacqueline Johnson Camille & Richard Sheely Mary Rusnak Gus Kaikkonen & Kraig Swartz Rebecca & Philip Siekevitz Alison Ryley Joseph Kaming Leonard & Marion Simon Nannette Sachs SHOW THIS AD FOR A 10% DISCOUNT Audrey S. -
Artists in the U.S
SPORADIC CRITIQUE OF CULTURE Nº1 September 15, 1989 YAWN is a sporadic communiqué which seeks to provide a critical look at our culture in all its manifestations. YAWN welcomes responses from its readers, especially those of a critical nature. Be forewarned that anything sent to YAWN may be considered for inclusion in a future issue. Submissions are welcome and encouraged. Monetary donations are requested to help defray costs. Subscriptions to YAWN are available for $10 (cash or unused stamps) for one YAWN year by first class mail. All content is archived at http://yawn.detritus.net/. A R T S T R I K E 1 9 9 0 — 1 9 9 3 We call for all artists in the U.S. to put down their tools and cease to make, distribute, sell, exhibit or discuss their work from January 1, 1990 to January 1, 1993. We call for all galleries, museums, agencies, alternative spaces, periodicals, theaters, art schools etc., to cease all operations for the same period. Art is conceptually defined by a self-perpetuating elite and is marketed as an international commodity; the activity of its production has been mystified and co-opted; its practitioners have become manipulable and marginalized through self-identification with the term “artist” and all it implies. To call one person an artist is to deny another an equal gift of vision; thus the myth of “genius” becomes an ideological justification for inequality, repression and famine. What an artist considers to be his or her identity is simply a schooled set of attitudes; preconceptions which imprison humanity in history. -
Practices of Networking in Grassroots Communities from Mail Art to the Case of Anna Adamolo
Interface: a journal for and about social movements Article Volume 2 (2): 68 - 78 (November 2010) Bazzichelli, Critique of social networking Towards a critique of social networking: practices of networking in grassroots communities from mail art to the case of Anna Adamolo Tatiana Bazzichelli1 Abstract This article follows my reflections on the topic of networking art in grassroots communities as a challenge for socio-political transformation. It analyses techniques of networking developed in collective networks in the last half of the twentieth century, which inspired the structure of Web 2.0 platforms and have been used as a model to expand the markets of business enterprises. I aim to advance upon earlier studies on networked art, rejecting the widely accepted idea that social networking is mainly technologically determined. The aim is to reconstruct the roots of collaborative art practices in which the artist becomes a networker, a creator of shared networks that expand virally through collective interventions. The focus is collaborative networking projects such as the network of mail art and multiple identities projects such as the Luther Blissett Project (LBP), the Neoist network- web conspiracy and, referring to the contemporary scenario of social networking, the Italian case of Anna Adamolo (2008-2009). The Anna Adamolo case is presented as a clear example of how networking strategies, and viral communication techniques, might be used to generate political criticism both of the media (in this case of the social media) and society. This case study becomes even more relevant if framed by a long series of hacktivist practices realized in the Italian activist movement since the eighties, where collective and social interventions played a crucial role. -
Videography 1976-2017 Alphabetical Order
Videography 1976-2017 Alphabetical Order. Most digitized and available as Boxed DVDs. All BW originated on 1/2” open reel. All color before 2000 originated on VHS. A BOY AND HIS FATHER BUTCHER A DEER, 1987. Text on screen and voiceover tell of a startling event from Rosenthal’s life one day in Columbia, Missouri, 1976. Premiered at The Kitchen, NYC, April 1988. (43sec 25fr) https://vimeo.com/62826506 AMERICAN DENOMINATIONS, 1991-2009. Extensively revised 2009. Religion or money? (1min 10sec) ANT FARM, 1992-2016. A colony of ants bury their dead in her children’s toy. Rosenthal shot this harrowing footage while listening to her cassette of Arlo Guthrie singing 1913 Massacre, which was so appropriate to the themes of irony and tragedy that it became part of the piece. (Permission by Artistic License.) (2min 29sec 26fr) AT CAROL’S HOUSE: BATHROOM MIRROR, 1990. Visiting the artist Carol Ross, Rosenthal has some thoughts she conveys to herself and her video camera. AUTO-SURVEILLANCE IN REAL TIME: PSYCHIATRIC CAMERA — TALKING TO CAMERA ALONE AND WITH OTHERS: (TALKS TO CAMERA WHY AND BECAUSE, NOV. 1, 2008; TALKS TO CAMERA SURRENDER, NOV. 2008; TALKS TO CAMERA MAY 17, 2008; TALKS TO CAMERA JUNE 26, 03; TALKS TO CAMERA JUNE 16, 2003; TALKS TO CAMERA March 2, 2000; TALKS TO CAMERA, March, 1985; STATIONARY CAMERA WITH BILL CRESTON — ART AND ARTIST TALK, 2004; TALK WITH BILL CRESTON IN BED, Feb. 12, 1997; CAR WAS STOLEN TALK; REFERENCE BOOKS TALK; TALKING IN THE EDITING STUDIO; OLA CRESTON TALKS TO HER MOTHER, BARBARA ROSENTHAL, ABOUT SISTER SENA CLARA AND THEIR PIANO TEACHER.) (These shoots have not been edited or digitized) BAD SINGING: HUMAN KINDNESS, OVERFLOWING, 2008; BATTLE HYMN OF THE REPUBLIC, Moscow, 2007; DIAMONDS AND RUBIES, 1983. -
Un Manifiesto Hacker
UN MANIFIESTO HACKER ALPHA. BET & GIMMEL McKENZIE WARK UN MANIFIESTO HACKER Traducción de Laura Mañero ALPHA DECAY Gracias a: AG, AR, BH, BL, CD, CF, el di funto CH, CL, CS, DB, DG, DS, FB, FS, GG, GL, HJ, IV, JB, JD, JF, JR, KH, KS, LW, MD, ME, MH, ML MT, MV, NR, OS, PM, RD, RG, RN, RS, SB, SD, SH, SK, SL, SS, TB, TC, TW. Versiones anteriores de Un manifiesto hacker aparecieron en Critical Secret, Feeler- gauge, Fibreculture Reader, Sarai Reader y Subsol In memoriam: Kathy Rey de los piratas Acker ÍNDICE Abstracción ..................................................................... 15 Clase.................................................................................. 23 Educación ....................................................................... 33 Hackear ........................................................................... 43 Historia ........................................................................... 53 Información..................................................................... 67 Naturaleza ....................................................................... 73 Producción....................................................................... 81 Propiedad ....................................................................... 89 Representación .............................................................. 103 Revuelta........................................................................... 113 Estado ............................................................................. 123 Sujeto..............................................................................