(Short Versions) of Case Studies from the Exhibition FAKE: It Is Not True, It Is Not a Lie
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Each Wild Idea: Writing, Photography, History
e “Unruly, energetic, unmastered. Also erudite, engaged and rigorous. Batchen’s essays have arrived at exactly the e a c h w i l d i d e a right moment, when we need their skepticism and imagination to clarify the blurry visual thinking of our con- a writing photography history temporary cultures.” geoffrey batchen c —Ross Gibson, Creative Director, Australian Centre for the Moving Image h In Each Wild Idea, Geoffrey Batchen explores widely ranging “In this remarkable book, Geoffrey Batchen picks up some of the threads of modernity entangled and ruptured aspects of photography, from the timing of photography’s by the impact of digitization and weaves a compelling new tapestry. Blending conceptual originality, critical invention to the various implications of cyberculture. Along w insight and historical rigor, these essays demand the attention of all those concerned with photography in par- the way, he reflects on contemporary art photography, the role ticular and visual culture in general.” i of the vernacular in photography’s history, and the —Nicholas Mirzoeff, Art History and Comparative Studies, SUNY Stony Brook l Australianness of Australian photography. “Geoffrey Batchen is one of the few photography critics equally adept at historical investigation and philosophi- d The essays all focus on a consideration of specific pho- cal analysis. His wide-ranging essays are always insightful and rewarding.” tographs—from a humble combination of baby photos and —Mary Warner Marien, Department of Fine Arts, Syracuse University i bronzed booties to a masterwork by Alfred Stieglitz. Although d Batchen views each photograph within the context of broader “This book includes the most important essays by Geoffrey Batchen and therefore is a must-have for every schol- social and political forces, he also engages its own distinctive ar in the fields of photographic history and theory. -
Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium
Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium Dissertation Presented in partial fulfillment of the requirement for the Degree Doctor of Philosophy in the Graduate School of Ohio State University Alexandra Mary Jenkins, M.A. Graduate Program in English The Ohio State University 2014 Dissertation Committee: Jared Gardner, Advisor Sean O’Sullivan Robyn Warhol Copyright by Alexandra Mary Jenkins 2014 Abstract Feminist activism in the United States and Europe during the 1960s and 1970s harnessed radical social thought and used innovative expressive forms in order to disrupt the “grand perspective” espoused by men in every field (Adorno 206). Feminist student activists often put their own female bodies on display to disrupt the disembodied “objective” thinking that still seemed to dominate the academy. The philosopher Theodor Adorno responded to one such action, the “bared breasts incident,” carried out by his radical students in Germany in 1969, in an essay, “Marginalia to Theory and Praxis.” In that essay, he defends himself against the students’ claim that he proved his lack of relevance to contemporary students when he failed to respond to the spectacle of their liberated bodies. He acknowledged that the protest movements seemed to offer thoughtful people a way “out of their self-isolation,” but ultimately, to replace philosophy with bodily spectacle would mean to miss the “infinitely progressive aspect of the separation of theory and praxis” (259, 266). Lisa Yun Lee argues that this separation continues to animate contemporary feminist debates, and that it is worth returning to Adorno’s reasoning, if we wish to understand women’s particular modes of theoretical ii insight in conversation with “grand perspectives” on cultural theory in the twenty-first century. -
A Kind of Webcam Art Nicolas Thély
A kind of webcam art Nicolas Thély To cite this version: Nicolas Thély. A kind of webcam art. Les presses du réel. Vu à la webcam (essai sur la web-intimité), Les presses du réel, pp.10, 2002, Documents sur l’art. hal-00637088 HAL Id: hal-00637088 https://hal.archives-ouvertes.fr/hal-00637088 Submitted on 30 Oct 2011 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. A kind of webcam art Extrait de Vu à la webcam (essai sur la web-intimité), Les Presses du réel, Dijon, 2002. Présentation Si à la fin des années 1990, l’utilisation domestique de la webcam était devenue un phénomène de société, il s’agissait dans ce chapitre de montrer de quelles manières les artistes contemporains appréhendaient ce nouveau régime de visibilité et de circulation des images. Une anecdote En consultant le journal de Corrie à la date du 3 février 2001, le jour de ses 28 ans, un paragraphe retient l'attention, il est illustré par une image qui porte le titre « webcam art ». Elle représente la sculpture d'un Bouddha posée sur un socle blanc faisant face à un poste de télévision. -
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. -
English, French and Russian, the Media Self-Regulation Guidebook Was Launched at the Eurasia Regional Forum for Media Development Held in Paris on 17–19 April 2008
Yearbook 2008 Yearbook 10 2008 THE REPRESENTATIVE ON FREEDOM OF THE MEDIA THE REPRESENTATIVE ON FREEDOM OF THE MEDIA www.osce.org/fom THE REPRESENTATIVE ON FREEDOM OF THE MEDIA The Representative on Organization for Security and Organization for Security and Co-operation in Europe ISBN 978-92-9234-627-0 Co-operation in Europe Freedom of the Media The views expressed by the contributing authors in this publication are their own and do not necessarily reflect the views of the OSCE Representative on Freedom of the Media. © 2009 The Representative on Freedom of the Media Organization for Security and Co-operation in Europe (OSCE) Wallnerstrasse 6 A-1010 Vienna, Austria tel +43-1-512 21 45-0 fax +43-1-512 21 45-9 e-mail [email protected] www.osce.org/fom Design & Layout: Phoenix Design Aid, Denmark ISBN 978-92-9234-627-0 Yearbook 10 2008 The OSCE Representative on Freedom of the Media Vienna 2009 contents Contents 11 Preface by Alexander Stubb 15 Foreword by Miklos Haraszti Contributions 19 Greeting on the occasion of the 20th anniversary of ARTICLE 19 Miklos Haraszti 23 The Success Story of the Media Self-Regulation Guidebook Adeline Hulin 29 When confrontation ends and co-operation begins. The media and the government Zoya Kazanzhy Mandate of the OSCE Representative on Freedom of the Media 35 Decision No. 193: Mandate of the OSCE Representative on Freedom of the Media 43 Decision No. 1/07: Extension of the Mandate of the OSCE Representative on Freedom of the Media Declarations 47 Joint Declaration by the four Global Rapporteurs on Freedom of -
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. -
Objectivity and Autonomy in the Newsroom: a Field Approach
OBJECTIVITY AND AUTONOMY IN THE NEWSROOM: A FIELD APPROACH A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Jay F. Gabriel May, 2008 © Copyright 2008 by Jay F. Gabriel iii ABSTRACT Objectivity and Autonomy in the Newsroom: A Field Approach Jay F. Gabriel Doctor of Philosophy Temple University, 2008 Doctoral Advisory Committee Chair: Paul Garrett This dissertation provides a better understanding of how journalists attain their personal and occupational identities. In particular, I examine the origins and meanings of journalistic objectivity as well as the professional autonomy that is specific to journalism. Journalists understand objectivity as a worldview, value, ideal, and impossibility. A central question that remains is why the term objectivity has become highly devalued in journalistic discourse in the past 30 years, a puzzling development considered in light of evidence that “objectivity” remains important in American journalism. I use Bourdieu’s notion of field to explore anthropological ways of looking at objectivity, for instance, viewing it as a practice that distinguishes journalists from other professionals as knowledge workers. Applying notions of field to the journalistic field through anthropological methods and perspective permits the linkage of microlevel perspectives to macrolevel social phenomena. The dissertation demonstrates how qualitative research on individuals and newsroom organizations can be connected to the field of journalism in the United States. Additionally, it offers insight into why journalists continue to embrace objectivity, even as they acknowledge its deficiencies as a journalistic goal. iv ACKNOWLEDGMENTS The author wishes to thank dissertation chair Paul Garrett, committee members Jayasinhji Jhala and Carolyn Kitch and outside reader Andrew Mendelson for their guidance. -
Zerohack Zer0pwn Youranonnews Yevgeniy Anikin Yes Men
Zerohack Zer0Pwn YourAnonNews Yevgeniy Anikin Yes Men YamaTough Xtreme x-Leader xenu xen0nymous www.oem.com.mx www.nytimes.com/pages/world/asia/index.html www.informador.com.mx www.futuregov.asia www.cronica.com.mx www.asiapacificsecuritymagazine.com Worm Wolfy Withdrawal* WillyFoReal Wikileaks IRC 88.80.16.13/9999 IRC Channel WikiLeaks WiiSpellWhy whitekidney Wells Fargo weed WallRoad w0rmware Vulnerability Vladislav Khorokhorin Visa Inc. Virus Virgin Islands "Viewpointe Archive Services, LLC" Versability Verizon Venezuela Vegas Vatican City USB US Trust US Bankcorp Uruguay Uran0n unusedcrayon United Kingdom UnicormCr3w unfittoprint unelected.org UndisclosedAnon Ukraine UGNazi ua_musti_1905 U.S. Bankcorp TYLER Turkey trosec113 Trojan Horse Trojan Trivette TriCk Tribalzer0 Transnistria transaction Traitor traffic court Tradecraft Trade Secrets "Total System Services, Inc." Topiary Top Secret Tom Stracener TibitXimer Thumb Drive Thomson Reuters TheWikiBoat thepeoplescause the_infecti0n The Unknowns The UnderTaker The Syrian electronic army The Jokerhack Thailand ThaCosmo th3j35t3r testeux1 TEST Telecomix TehWongZ Teddy Bigglesworth TeaMp0isoN TeamHav0k Team Ghost Shell Team Digi7al tdl4 taxes TARP tango down Tampa Tammy Shapiro Taiwan Tabu T0x1c t0wN T.A.R.P. Syrian Electronic Army syndiv Symantec Corporation Switzerland Swingers Club SWIFT Sweden Swan SwaggSec Swagg Security "SunGard Data Systems, Inc." Stuxnet Stringer Streamroller Stole* Sterlok SteelAnne st0rm SQLi Spyware Spying Spydevilz Spy Camera Sposed Spook Spoofing Splendide -
Karen Moss Curriculum Vitae Page 1
KAREN MOSS CURRICULUM VITAE PAGE 1 PROFESSIONAL EXPERIENCE OTIS COLLEGE OF ART AND DESIGN Ø Interim Director of Exhibitions anD Galleries (as of July 2014) Overseeing operations and programs for the Ben Maltz Gallery including Jorge and Lucy Orta’s Art / Life / Water exhibition and artists’ residency, Talking to Action: Decolonizing Experiments in Art from the Americas, an exhibition/symposium for the Getty’s PST Los Angeles/Latin America and other upcoming projects. Ø Senior Lecturer (2008 - Present) Teach courses in the Graduate Public Practice MFA program including Histories and Strategies of Public Art and Production Studio Critique Seminars. Conduct regular studio visits and advise on final MFA exhibition. While Chair Suzanne Lacy was on sabbatical, served as Acting Chair for the GPP MFA program. ORANGE COUNTY MUSEUM OF ART, 2003 - 2012 Ø Adjunct Curator (August 2010 - December 2012) Curated State of Mind: New California Art Circa 1970, an exhibition of conceptual art and other new genres in conjunction with the Getty’s Pacific Standard Time Initiative. Wrote successful proposals for a $175,000 research grant and a $225,000 implementation grant for presentations of the exhibition at Orange County Museum of Art and the UC Berkeley Art Museum and Pacific Film Archive, 2011-2012, followed by a 2-year tour to the Belkin Art Gallery, University of British Columbia, Vancouver; SITE Santa Fe; Bronx Museum of the Arts and the Smart Museum of Art, University of Chicago. The accompanying fully illustrated scholarly book was published by the University of California Press. Also curated 50 Years Forward, a photographic exhibition of OCMA’s institutional, exhibition and collection history in conjunction with the museum’s 50th anniversary. -
Syndicat and Matthieu Laurette Present MATTHIEU: Une Rétrospective Dérivée, 1993-2015 Chaumont Design Graphique, 26Th Festiva
Syndicat and Matthieu Laurette present MATTHIEU: Une rétrospective dérivée, 1993-2015 Chaumont design graphique, 26th Festival, 27th May – 14th June 2015 The artist Matthieu Laurette (b.1970) operates like a Buren stripe. perversely even photographs taken from very low-resolution Since the start of his career in 1993 he has inserted himself into TV images - but on the goods created for the exhibition they pre-existing situations with the aim of raising questions about their are reduced to a minimal numbers of pixels. Also, although not premises and exposing their mechanisms. While still a student, deliberately so, some of the designers’ choices ran against the usual Matthieu took part in a show titled Tournez Manège (The Dating hierarchy of images of the artist’s work. For example, a widely Game) on which he introduced himself as ‘a multimedia artist’. reproduced photograph of The Freebie King, a wax sculpture of He has been using TV formats as ready-mades ever since and calls Matthieu pushing a laden supermarket trolley that was exhibited his appearances ‘Apparitions’. Among them is a session on Je passe by Harald Szeemann at the Venice Biennial in 2001, is reprinted on à la télé (I am on TV), a talent show in which both the aim and the the least imposing objects in the exhibition, a small metal military prize are avoiding being voted off by a live audience. Alongside his dogtag on a stainless steel ball-chain (Matthieu himself think of work on screen during the 1990s, Matthieu undertook several long- this image as something of an icon). -
News Corporation 1 News Corporation
News Corporation 1 News Corporation News Corporation Type Public [1] [2] [3] [4] Traded as ASX: NWS ASX: NWSLV NASDAQ: NWS NASDAQ: NWSA Industry Media conglomerate [5] [6] Founded Adelaide, Australia (1979) Founder(s) Rupert Murdoch Headquarters 1211 Avenue of the Americas New York City, New York 10036 U.S Area served Worldwide Key people Rupert Murdoch (Chairman & CEO) Chase Carey (President & COO) Products Films, Television, Cable Programming, Satellite Television, Magazines, Newspapers, Books, Sporting Events, Websites [7] Revenue US$ 32.778 billion (2010) [7] Operating income US$ 3.703 billion (2010) [7] Net income US$ 2.539 billion (2010) [7] Total assets US$ 54.384 billion (2010) [7] Total equity US$ 25.113 billion (2010) [8] Employees 51,000 (2010) Subsidiaries List of acquisitions [9] Website www.newscorp.com News Corporation 2 News Corporation (NASDAQ: NWS [3], NASDAQ: NWSA [4], ASX: NWS [1], ASX: NWSLV [2]), often abbreviated to News Corp., is the world's third-largest media conglomerate (behind The Walt Disney Company and Time Warner) as of 2008, and the world's third largest in entertainment as of 2009.[10] [11] [12] [13] The company's Chairman & Chief Executive Officer is Rupert Murdoch. News Corporation is a publicly traded company listed on the NASDAQ, with secondary listings on the Australian Securities Exchange. Formerly incorporated in South Australia, the company was re-incorporated under Delaware General Corporation Law after a majority of shareholders approved the move on November 12, 2004. At present, News Corporation is headquartered at 1211 Avenue of the Americas (Sixth Ave.), in New York City, in the newer 1960s-1970s corridor of the Rockefeller Center complex.