An urban rehabilitation proposal for the west side of Manhattan "Centro Delle Arti" core of a sensorial walkway

Chelsea is a multi-facet interesting neighborhood on the west site of Manhattan along the Hudson River, just north of Greenwich Village, stretching from 14th to 30th Stand from the river to Sixth Avenue towards the east. The idea was born to recover t he old High une and to create along it seeds that can grow, and improve the quality of lite revive curiosity, reestablish and enrich people relations, a "passeg-grata sensoriale" (promenade of senses), a walkway of the five senses. lts to revive a place, to bring to new lite the emotional impact settled in the sensorial memory of men and womens of the neighborhood a vast harbour. Millions of immigrams ... Social and cultural relations and confrontation and exchanges". And the project goes to the search of everyone's hidden memories, with the hope to incite to open-mindedness and dialogue. Each single situation wants to rediscover the joy of making, tasting, hearing, smelling and watching, and they culminate in the Centro Delle Arti (Arts Center), heart of the pathway, place of encountermg for ali the neighborhood, always mindful of social diversity and the art world. T h e track floor of the old High Une is restored and converted into a pedestrian pathway, with many connections with the street. Along this pathway, south and north of the art center, a number of activities are installed: Herbariums, where people can grow herbaceous plants, or just look at and smell herbs and spices and flowers and perfumes; music laboratories, where people can listen to hits, folles and classical music, but also to the sound of the harbour and old luxury ships; or local bands can play and record their works; food retail shops and cafés where casting speoalities, having a light meals or snacks, or enjoying soft drinks, tea or coffee, and meet people. At mid-way, walking along the High line. You find the central place, the art center equipped with laboratories open to professionals and amateurs, where you can make a search in the documentation area or amuse yourself watching the Works shown in the exhibition rooms or watching old potos or movies

Entertainment in the 21st Century: Is an Independent Networked Multimedia Production and Promotion Firm a Viable Business Option in the Modern Entertainment Industry?

“Artists are being stifled by the ‘major label’ stance that exclusively demands what’s ours is ours and can only be handled by us. It should be more about creative freedom” (Monstercat Manifesto). Over the past fifteen years, we have witnessed how the internet has changed how entertainment is distributed and consumed. This has led to a change in behavior from major entertainment production firms, and has given way to the surge of independent labels and production houses. Now, entertainers can lead successful careers by reaching their audience through digital platforms, successfully decreasing production and distribution costs. Consumers can find an unlimited amount of ad-supported content that they can access for free. Understanding these change is vital in finding and solving the problems these changes have produced

Repeated Disasters and Chronic Environmental Changes Impede Generational Transmission of Indigenous Knowledge

Indigenous coastal communities are interdependent with the environment and families are vulnerable to the environmental changes that disrupt culture, continuity, and livelihood. The purpose of this study was to elucidate meaning from shared cultural perceptions of experiencing repeated disasters and other environmental changes among a United States Indigenous coastal community. This study is part of a larger community- engaged study and reports results from phenomological semi-structured in-depth qualitative interviews (n=19). Participants were enrolled tribal members with a strong ethnic identity and earned a majority of their income from subsistence activities. The results highlight that discrimination, which is part of the broader context of historical oppression, has set the stage for heightened vulnerability in Indigenous communities. Indigenous families are highly connected to their place and environment, yet environmental changes (e.g. repeated disasters, chronic land loss, and climate change) creates barriers for many elder participants pass on traditional knowledge and lifeways to their grandchildren and future generations. Indigenous peoples’ relationship with the land is spiritual, cultural, and place-specific. Interruption of Indigenous Peoples’ ability to interact with the land acculturation, lack of self-determination and discrimination are contemporary forms of trauma

Professional game artists:an investigation into the primary considerations that impact upon their work, and the effects upon their creative practice

This article represents the author’s preliminary research into an area of creative practice that he pursued for some 20 years, namely that of a full time professional computer game artist. Initially collaborating with academics as a part time lecturer and industrial consultant, for the past eight years his roles within academia have focused on developing pedagogical models of professional practice within games education. Through his interaction with students, employers and graduates, the author began to identify an area of keen personal interest – namely, the actual realities of being a professional game artist, and the potential consequences on creative practice. In identifying the constraints and influences that direct such an artist’s work, it is the intention that a broader discussion may then follow, exploring how such artists can protect their creative muse, when the evidence would suggest that many aspects of the games industry are an absolute anathema to individual expression. In addition to his own experiences and research, the author has drawn on interviews with other professionals from games development, as well as artists who work in other areas of professional artistic practice (such as Fine Art, Illustration, and Comics). In this way his intention is to identify the areas of practice common to other areas of art, while highlighting any of the more unique elements present specifically within games development itself. While there is a large body or research into game design principles and technologies, there is very little discussion that focuses on the very people that make them. It is the author’s hope that this article plays some small part in starting to redress this balance, and may help the reader to appreciate the challenges such artists face

Principles for Starting a Song-Writing Ministry

With the approval of Dr. Keith Currie and Dr. David Schmal, I have chosen to complete the Music & Worship Ministry Project as the Final Thesis for the Masters of Art in Music and Worship. The objective of the project is to produce an Extended Play Record (EP) that contains five original worship songs written specifically for this EP. The components of this project include: songwriting, arranging, performing, recording, and producing. This project will achieve two purposes: first, the songs in this EP are meant to be sung in my local church – Koinonia Evangelical Church (KEC); second, this project is the medium through which I complete my research on building a songwriting ministry in KEC. It answers the question: what are some foundational philosophies to starting a local church songwriting ministry? By working through the different stages of producing this record, I was able to identify seven guiding principles on which KEC will build its songwriting ministry. 1. Words Over Music 2. Songs for the Congregation, Not the Performer 3. Feedback is Our Friend 4. Pursue Excellence, Not Perfection 5. A One-Man Band Can Never Grow Bigger Than One Man 6. Inner Worship to Outer Worship 7. Singing is Not the Goal, Discipleship is the Goa

The Utopian

The paper was concerned with the future of the social housing complex in Poplar, East London called Robin Hood Gardens designed, conceived and built in the late 60's by Alison and Peter Smithson. The project and publication centred on the possible future for the building through a series of articles and conceptual visions created by us as the authors

Making Common Causes: Crises, Conflict, Creation, Conversations: Offerings from the Biennial ALECC Conference Queen’s University, Kingston 2016

At ALECC’s biennial gathering at Queen’s University in June 2016, participants came together to explore the possibilities of “making common causes” from a host of angles, yet all were anchored in an acknowledgement of the diverse more-than-human relationships that make up our common worlds. The following collection of short essays, authored by some of the gathering’s keynote speakers, explores specific aspects of making common causes. In this special section of The Goose, we deliberately invoke the plural of conversation. We understand the effort to make common causes as a process, rather than a “one and done” act. It is multifaceted and messy; it invites imagination and critique. Most importantly, it needs to cultivate the common ground whereupon these difficult conversations can be engaged