Untitled’’ to the Viewer
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Role of Art in Enterprise
Report from the EU H2020 Research and Innovation Project Artsformation: Mobilising the Arts for an Inclusive Digital Transformation The Role of Art in Enterprise Tom O’Dea, Ana Alacovska, and Christian Fieseler This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 870726. Report of the EU H2020 Research Project Artsformation: Mobilising the Arts for an Inclusive Digital Transformation State-of-the-art literature review on the role of Art in enterprise Tom O’Dea1, Ana Alacovska2, and Christian Fieseler3 1 Trinity College, Dublin 2 Copenhagen Business School 3 BI Norwegian Business School This project has received funding from the European Union's Horizon 2020 research and innovation programme under grant agreement No. 870726 Suggested citation: O’Dea, T., Alacovska, A., and Fieseler, C. (2020). The Role of Art in Enterprise. Artsformation Report Series, available at: (SSRN) https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3716274 About Artsformation: Artsformation is a Horizon 2020 Research and Innovation project that explores the intersection between arts, society and technology Arts- formation aims to understand, analyse, and promote the ways in which the arts can reinforce the social, cultural, economic, and political benefits of the digital transformation. Artsformation strives to support and be part of the process of making our communities resilient and adaptive in the 4th Industrial Revolution through research, innovation and applied artistic practice. To this end, the project organizes arts exhibitions, host artist assemblies, creates new artistic methods to impact the digital transformation positively and reviews the scholarly and practi- cal state of the arts. -
What the Renaissance Knew Piero Scaruffi Copyright 2018
What the Renaissance knew Piero Scaruffi Copyright 2018 http://www.scaruffi.com/know 1 What the Renaissance knew • The 17th Century – For tens of thousands of years, humans had the same view of the universe and of the Earth. – Then the 17th century dramatically changed the history of humankind by changing the way we look at the universe and ourselves. – This happened in a Europe that was apparently imploding politically and militarily, amid massive, pervasive and endless warfare – Grayling refers to "the flowering of genius“: Galileo, Pascal, Kepler, Newton, Cervantes, Shakespeare, Donne, Milton, Racine, Moliere, Descartes, Spinoza, Leibniz, Locke, Rubens, El Greco, Rembrandt, Vermeer… – Knowledge spread, ideas circulated more freely than people could travel 2 What the Renaissance knew • Collapse of classical dogmas – Aristotelian logic vs Rene Descartes' "Discourse on the Method" (1637) – Galean medicine vs Vesalius' anatomy (1543), Harvey's blood circulation (1628), and Rene Descartes' "Treatise of Man" (1632) – Ptolemaic cosmology vs Copernicus (1530) and Galileo (1632) – Aquinas' synthesis of Aristotle and the Bible vs Thomas Hobbes' synthesis of mechanics (1651) and Pierre Gassendi's synthesis of Epicurean atomism and anatomy (1655) – Papal unity: the Thirty Years War (1618-48) shows endless conflict within Christiandom 3 What the Renaissance knew • Decline of – Feudalism – Chivalry – Holy Roman Empire – Papal Monarchy – City-state – Guilds – Scholastic philosophy – Collectivism (Church, guild, commune) – Gothic architecture 4 What -
Depersonalized Intimacy: the Cases of Sherry Turkle and Spike Jonze Eva-Lynn Jagoe University of Toronto
Depersonalized Intimacy: The Cases of Sherry Turkle and Spike Jonze Eva-Lynn Jagoe University of Toronto hat i call “depersonalized intimacy” posits modes of being with Wone another that are not predicated on a self that is in control of its own value, its own self-knowledge, or its own interpersonal interactions. The demand to be a knowable, self-aware, and authentic self thwarts many a friendship, love affair, and intimate conversation, and yet we continue to turn to the self-help aisle or Oprah to learn to be better at expressing and knowing ourselves. When that fails, we lament that we are misunderstood, unheard, and unmet by the other. This disappointment suggests that there is a transparent, authentic, and real self that needs recognition and mir- roring. But this self is, I believe, a product of the neoliberal economization of the self, in which human capital becomes another site of investment and entrepreneurial ventures.1 As an antidote to this harmful and illusory expectation for the self, I suggest an ethics of depersonalized intimacy, in 1 On the neoliberalization of the self, see Wendy Brown on neoliberal reason: [B]oth persons and states are construed on the model of the con- temporary firm, both persons and states are expected to comport themselves in ways that maximize their capital value in the present and enhance their future value, and both persons and states do so through practices of entrepreneurialism, self-investment, and/or attracting investors. (22) ESC 42.1–2 (March/June 2016): 155–173 which we disinvest from an imagined relational self who is in charge of her actions and emotions and expected to perform herself to the other in an authentic and coherent manner. -
Transilient Minds
The Screen as Architecture Olga Venetsianou University of Thessaly (Greece) Abstract the screen. The argument will be presented through a series of case studies that are This paper deals with the spatial properties of located between architecture and non- the cinematic, television or computer screen architecture, dating from the beginning of in multimedia installations. Through a series the twentieth century until now. The of case-studies dating from the interwar selected works use a diverse range of avant-garde movements to contemporary expressive means, materials and multimedia installations, we will attempt to techniques, thus breaking down the barriers illustrate the way that the screen surface is within the arts. transformed from flat and frontal to a three- dimensional space of visualization. Artistic Expansion and Multiplication of experimentations, in particular the expansion and multiplication of screen space and the Screen Space encouragement of audience participation, In regard to media art, two underlying assisted by the evolution of technology from currents are identified. The first may be analogue to digital, marked the introduction of described as an audiovisual experience immersive environments and interactive constrained by a bounding border, which relations between spectator and image. In separates fictional from real space, i.e. the digital culture, the screen functions as a frame of a painting, the proscenium arch of communication space for events and a theatre, the casing of a television, the scenarios. Moreover, contemporary border of a cinema screen. The second multimedia installations use the strong group of artworks is characterized by the illusionary powers of the moving image and attempt to discard the frame, so that the the notion of interactivity in an attempt to created space is released as an immersive converge all modalities of perception in a experience. -
S a N F R a N C I S C O a R T S Q U a R T E R L Y I S S U E
SFAQ free Tom Marioni Betti-Sue Hertz, YBCA Jamie Alexander, Park Life Wattis Institute - Yerba Buena Center for the Arts - Berkeley Art Museum/Pacific Film Archive - Tom Marioni - Gallery 16 - Park Life - Collectors Corner: Dr. Robert H. Shimshak, Rimma Boshernitsan, Jessica Silverman, Charles Linder - Recology Artist in Residence Program - SF Sunset Report Part 1 - BOOOOOOOM.com - Flop Box Zine Reviews - February, March, April 2011 Event Calendar- Artist Resource Guide - Bay Area, Los Angeles, New York, Portand, Seattle, Vancouver Space Listings - West Coast Residency Listings SAN FRANCISCO ARTS QUARTERLY ISSUE.4 -PULHY[PUZ[HSSH[PVU +LSP]LY`WHJRPUNHUKJYH[PUN :LJ\YLJSPTH[LJVU[YVSSLKZ[VYHNL +VTLZ[PJHUKPU[LYUH[PVUHSZOPWWPUNZLY]PJLZ *VSSLJ[PVUZTHUHNLTLU[ connect art international (T) ^^^JVUULJ[HY[PU[SJVT *VU]LUPLU[:HU-YHUJPZJVSVJH[PVUZLY]PUN5VY[OLYU*HSPMVYUPH JVSSLJ[VYZNHSSLYPLZT\ZL\TZKLZPNULYZJVYWVYH[PVUZHUKHY[PZ[Z 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER 1B copy.pdf 1 1/7/11 9:18 PM 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER C M Y CM MY CY CMY K JANUARY 21-FEBRUARY 28 AMY ELLINGSON, SHAUN O’DELL, INEZ STORER, STEFAN KIRKEBY. MARCH 4-APRIL 30 DEBORAH OROPALLO MAY 6-JUNE 30 TUCKER NICHOLS SoFF_SFAQ:Layout 1 12/21/10 7:03 PM Page 1 Anno Domini Gallery Art Ark Art Glass Center of San Jose Higher Fire Clayspace & Gallery KALEID Gallery MACLA/Movimiento de Arte y Cultura Latino Americana Phantom Galleries San Jose Jazz Society at Eulipia San Jose Museum of Quilts & Textiles SLG Art Boutiki & Gallery WORKS San José Caffé Trieste Dowtown Yoga Shala Good Karma Cafe METRO Photo Exhibit Psycho Donuts South First Billiards & Lounge 7pm - 11pm free & open to the public! Visit www.SouthFirstFridays.com for full schedule. -
Revisiting the Potential Uses of Media for Children's Education
Revisiting the Potential Uses of Media in Children’s Education Chris Berdik Winter 2020 The Joan Ganz Cooney Center at Sesame Workshop About the Author Chris Berdik is a freelance science and education journalist in Boston. A former staff editor at The Atlantic Monthly and Mother Jones, he has covered topics such as virtual schools, DNA forensics, and climate engineering for national publications, including The New York Times, Wired, Popular Science, Politico, New Scientist, and The Washington Post. Since 2015, he has also been a regular contributor to the Hechinger Report, a nonprofit education newsroom. His reporting has won grants from the Pulitzer Center on Crisis Reporting, the Society of Environmental Journalists, and the Solutions Journalism Network. In 2012, Penguin published his book Mind Over Mind, about medical and non-medical placebo effects. He is now working on a book about noise, expected to be published by Norton in 2021. A full-text PDF of this publication is available as a free download from www.joanganzcooneycenter.org. 2 CoNteNtS 4 — INTRODUCTION 6 — PART ONE Uncharted Territory? 7 What’s Been Done (Or Overdone)? 7 Where Are the Gaps? 9 — PART TWO Key Ingredients 10 Starting Points 11 Digital Do’s and Don’ts 13 — PART THREE Adults in the Room 14 Encouraging Adults 15 Desperately Seeking Curation 16 Scaffolding 17 — PART FOUR Fake News! 18 Media Literacy 19 Privacy 21 — PART FIVE Pursuing Equity 22 Big Picture 23 Small Steps 24 — CONCLUSION 26 — CONTRIBUTORS 3 INtroDuCtIoN On November 10, 1969, Big Bird took his first outsized steps down Sesame Street, introducing the world to a character that was endearingly goofy, but always eager to learn. -
James Spudich, Ph.D. the Myosin Mesa and Beyond: on the Underlying Molecular Basis of Hyper-Contractility Caused by Hypertrophic Card
JAMES SPUDICH, PH.D. THE MYOSIN MESA AND BEYOND: ON THE UNDERLYING MOLECULAR BASIS OF HYPER-CONTRACTILITY CAUSED BY HYPERTROPHIC CARD APRIL 6, 2017 3:00 P.M. 208 LIGHT HALL SPONSORED BY: THE DEPARTMENT OF CELL AND DEVELOPMENTAL BIOLOGY Upcoming Discovery Lecture: ERIC GOUAUX, PH.D. Senior Scientist, Vollum Institute Jennifer and Bernard Lacroute Term Chair in Neuroscience Research Investigator, HHMI April 20, 2017 208 Light Hall / 4:00 P.M. 1190-4347-Institution-Discovery Lecture Series-Spudich-BK-CH.indd 1 3/21/17 11:11 AM THE MYOSIN MESA AND BEYOND: ON THE UNDERLYING MOLECULAR BASIS OF HYPER-CONTRACTILITY CAUSED BY JAMES SPUDICH, PH.D. STANFORD UNIVERSITY SCHOOL OF MEDICINE DEPARTMENT OF BIOCHEMISTRY THE MYOSIN MESA AND BEYOND: DOUGLASS M. AND NOLA LEISHMAN PROFESSOR OF ON THE UNDERLYING MOLECULAR BASIS CARDIOVASCULAR DISEASE OF HYPER-CONTRACTILITY CAUSED BY MEMBER, NATIONAL ACADEMY OF SCIENCES HYPERTROPHIC CARD After 40 years of developing and utilizing assays to understand the James Spudich, Douglass M. and Nola Leishman Professor of molecular basis of energy transduction by the myosin family of Cardiovascular Disease, is in the Department of Biochemistry at Stanford molecular motors, all members of my laboratory are now focused on University School of Medicine. He received his B.S. in chemistry from understanding the underlying biochemical and biophysical bases of the University of Illinois in 1963 and his Ph.D. in biochemistry from human hypertrophic (HCM) and dilated (DCM) cardiomyopathies. Stanford in 1968. He did postdoctoral work in genetics at Stanford and Our primary focus is on HCM since these mutations cause the heart in structural biology at the MRC Laboratory in Cambridge, England. -
From Point to Pixel: a Genealogy of Digital Aesthetics by Meredith Anne Hoy
From Point to Pixel: A Genealogy of Digital Aesthetics by Meredith Anne Hoy A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Rhetoric and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Whitney Davis, co-chair Professor Jeffrey Skoller, co-chair Professor Warren Sack Professor Abigail DeKosnik Professor Kristen Whissel Spring 2010 Copyright 2010 by Hoy, Meredith All rights reserved. Abstract From Point to Pixel: A Genealogy of Digital Aesthetics by Meredith Anne Hoy Doctor of Philosophy in Rhetoric University of California, Berkeley Professor Whitney Davis, Co-chair Professor Jeffrey Skoller, Co-chair When we say, in response to a still or moving picture, that it has a digital “look” about it, what exactly do we mean? How can the slick, color-saturated photographs of Jeff Wall and Andreas Gursky signal digitality, while the flattened, pixelated landscapes of video games such as Super Mario Brothers convey ostensibly the same characteristic of “being digital,” but in a completely different manner? In my dissertation, From Point to Pixel: A Genealogy of Digital Aesthetics, I argue for a definition of a "digital method" that can be articulated without reference to the technicalities of contemporary hardware and software. I allow, however, the possibility that this digital method can acquire new characteristics when it is performed by computational technology. I therefore treat the artworks covered in my dissertation as sensuous artifacts that are subject to change based on the constraints and affordances of the tools used in their making. -
Media Ecologies: Materialist Energies in Art and Technoculture, Matthew Fuller, 2005 Media Ecologies
M796883front.qxd 8/1/05 11:15 AM Page 1 Media Ecologies Media Ecologies Materialist Energies in Art and Technoculture Matthew Fuller In Media Ecologies, Matthew Fuller asks what happens when media systems interact. Complex objects such as media systems—understood here as processes, or ele- ments in a composition as much as “things”—have become informational as much as physical, but without losing any of their fundamental materiality. Fuller looks at this multi- plicitous materiality—how it can be sensed, made use of, and how it makes other possibilities tangible. He investi- gates the ways the different qualities in media systems can be said to mix and interrelate, and, as he writes, “to produce patterns, dangers, and potentials.” Fuller draws on texts by Félix Guattari and Gilles Deleuze, as well as writings by Friedrich Nietzsche, Marshall McLuhan, Donna Haraway, Friedrich Kittler, and others, to define and extend the idea of “media ecology.” Arguing that the only way to find out about what happens new media/technology when media systems interact is to carry out such interac- tions, Fuller traces a series of media ecologies—“taking every path in a labyrinth simultaneously,” as he describes one chapter. He looks at contemporary London-based pirate radio and its interweaving of high- and low-tech “Media Ecologies offers an exciting first map of the mutational body of media systems; the “medial will to power” illustrated by analog and digital media technologies. Fuller rethinks the generation and “the camera that ate itself”; how, as seen in a range of interaction of media by connecting the ethical and aesthetic dimensions compelling interpretations of new media works, the capac- of perception.” ities and behaviors of media objects are affected when —Luciana Parisi, Leader, MA Program in Cybernetic Culture, University of they are in “abnormal” relationships with other objects; East London and each step in a sequence of Web pages, Cctv—world wide watch, that encourages viewers to report crimes seen Media Ecologies via webcams. -
By Krista Conger It Was Around 3 P.M. on a Thursday Last October When James Spudich and Suzanne Pfeffer Poked Their Heads Into T
BECKMAN CENTER FOR MOLECULAR AND GENETIC MEDICINE PG. 6 BECKMAN RESEARCHERS MAP INTRICACIES OF LUNG CANCER IN ONE OF THEIR OWN By Krista Conger Spudich had no way of knowing it, but the meeting he’d interrupted between Krasnow and assistant professor of pediatrics Christin Kuo, MD, had been It was around 3 p.m. on a Thursday last October when called to discuss how Krasnow could broaden his James Spudich and Suzanne Pfeffer poked their heads research, which he had been conducting mainly in into the office of Mark Krasnow, on the fourth floor of mice and small primates called mouse lemurs, to the Beckman Center for Molecular and Genetic include human cancers. But the logistical and legal Medicine, interrupting a meeting he was having with hoops that would need to be cleared prior to any a colleague. kind of human-based research were daunting, and Krasnow knew it would likely take months to obtain “Can we talk to you for a minute?” Pfeffer said. the necessary approvals. Impromptu conversations were nothing new for the Kuo, a specialist in pulmonary medicine, had been three. The longtime colleagues and friends have a lot to working with Stephen Quake, PhD, professor of talk about. Spudich, PhD, whose research focuses on bioengineering and of applied physics and co-president understanding the molecular forces that drive muscle of the Chan Zuckerberg Biohub, and postdoctoral contractions, earned a doctoral degree from Stanford scholar Spyros Darmanis, PhD, a group leader at the in 1968 under Arthur Kornberg, MD, a founding Biohub, to study the development and function of lung member of the Department of Biochemistry. -
Artistsg BOOKS: News and Reviews
ARTISTSgBOOKS: news and reviews narrative fiction, pop montage, comics and social docu- NEWS ments, and intermedia, all by Zelevansky while Kostelanetz Artists' Books '83 was an exhibition held in July at Soker reviewed a recent show of Books by Artists sponsored by Kaseman Gallery in San Francisco. The show, curated by Art Metropole. Howard Munson, included 108 works by 69 artists from The Artist's & Critics Forum (Vol. 2, no. 3) subtitled the United States, Mexico, Europe and Japan. Among the "Invisible Books" is a series of essays by art critics about artists who are new to the media of book art and who were what books they consider necessary to be published and showing outstanding work for the first time were Elisa can never be published and why. Among these essays is Gitting's And We Ourselves Are Only The Rock's Words... , one by Peter Frank concerning what happened to Colla- a book of photo etchings on delicate Japanese paper of a tion and why. For more information on this important female form flowing in and out of rock formations strange- newsletter, write to A & CF, Box 1885, Grand Central ly resembling the same female form; Paul Kwan's Indian Station, New York, NY 10163 ($10.00 per year for 4). Journal, an accordion-style book of collage fabrics, beads, and unusual curios picked up during his travels in India; The USIA has begun what it hopes to be a long-running Keiko Nelson-Tsukamoto's Diary of Inner Life, a beauti- series of exhibits of American books at information cen- ful all hand-made paper accordion-style book with flowing ters at book fairs around the world. -
Curriculum Vitae James A. Spudich, Ph.D
Curriculum Vitae James A. Spudich, Ph.D. Douglass M. and Nola Leishman Professor of Cardiovascular Disease Department of Biochemistry Stanford University School of Medicine EDUCATION 1963 University of Illinois, Chemistry Dept of Biochemistry B.S. 1968 Stanford University, Biochemistry Dept of Biochemistry Ph.D. 1968-1969 Stanford University, Molecular Genetics Dept of Biological Sciences Postdoctoral 1969-1971 Cambridge University, Structural Biology MRC Lab of Mol Biol Postdoctoral PROFESSIONAL EXPERIENCE 2012 Co-Founder, MyoKardia, Inc. 2011-present Adjunct Professor, Institute of Stem Cell Biology and Regenerative Medicine (inStem), Bangalore, India 2005-present Adjunct Professor, National Centre for Biological Sciences (NCBS) of the Tata Institute of Fundamental Research (TIFR), Bangalore, India; and TIFR, Bombay, India 1998-2002 Co-Founder and first Director, Interdisciplinary Program in Bioengineering, Biomedicine and Biosciences – Bio-X, Stanford University 1998 Co-Founder, Cytokinetics, Inc. 1992-present Professor, Dept of Biochemistry, Stanford University School of Medicine (Chairman from 1994-1998) 1989-2011 Professor, Dept of Developmental Biology, Stanford University School of Medicine 1977-1992 Professor, Dept of Structural Biology, Stanford University School of Medicine (Chairman from 1979-1984) 1976-1977 Professor, Dept of Biochemistry and Biophysics, UCSF, San Francisco 1974-1976 Associate Professor, Dept of Biochemistry and Biophysics, UCSF, San Francisco 1971-1974 Assistant Professor, Dept of Biochemistry and Biophysics,