UAS Literary & Arts Journal

Proof copy provided by Tidal Echoes.The 2016 edition of Tidal Echoes presents an annual showcase of writers and artists who share one thing in common: a life surrounded by the rainforests and waterways of Southeast Alaska.a heart is a heavy burden -- Editor’s Note -- Acknowledgements -- Always a Pause -- Untitled -- Mishima Teabowls -- Mint Tea and Red Wine -- The Dry Winter Scent of Prairies -- Northern Sunrise -- Musical Theory in a Falling Tree -- Jumbo Lookout -- The Shape of an Echo -- Wonderwall -- It’s Difficult [excerpt from the poem “Marissa”] -- Yéil x’us.eetí Raven Footprints -- táakw winter -- King Fisher -- Bear -- A Dandelion by its own Name -- Migrations -- Untitled -- They Named Her Driftwood -- Kissing in the Rain -- Waltz of the Flowers: Anna and Company -- Sun Catcher -- Porcelain Curtains -- The River -- Kathleen Lake -- A Living Tapestry -- Red Cedar Tlingit Haida Weave -- Skinned -- Survivor -- Auke Lake Lights -- Aurora Chasers -- Emma Afloat -- I Can’t Sleep -- The Ghost I’m Left With -- Framed Memories -- Tequila, Sweat, and Prayers -- The Alchemical Marriage -- A New New Hope -- each dream practice -- Clouds -- Seasons Change and the Waters Run On -- John Muir -- Salmon Speaks -- A Place That Holds Names -- Untitled -- Salmon Spirit Chest, Connected (box) -- The Language of Weaving: Featured Artist Dr. Teri Rofkar -- Nome, Alaska -- Drained -- I’m From -- Srevlla—The state of things where the spring snow is so soft that one sinks into it. -- Reflections -- Txamsem -- Post-Glacial Rebound -- Dressed in Garlands -- Learning the Dance -- Shamrocks -- When You See Me -- Water Spirit -- To Speak for Restraint, for Wildness, for Beauty: Featured Writer Aleria Jensen -- Young Eagle -- Untitled (detail) -- Baula -- Airport Dike Trail Evening -- Ninja Meatballs -- Untitled -- In the Wild Without Child: One Mother’s Invitation to Self -- Whale Tail Vista -- Questions for Anemones -- Yellow Cedarbark Wool on Starfish Pot -- Gleaming Orange and Pissed -- Through the Sky She Comes -- Love for the Honeybee -- The Last Speaker -- Juneau Fireweed -- Judy Plays the Tuba -- Illuminated Juneau -- Airport Dike Trail Moonlight -- Escape -- A Wooden Mother -- Black and Whites -- an excuse for staying indoors (a working title for a work in progress) -- Insecurities -- Lake Farm -- Yew Bear -- Rupture -- Mendenhall Glacier -- The Rookery -- Transient -- Laminaria -- Untitled -- Querencia -- Hoard -- Untitled -- Small Birds Sign -- Selfie at Two -- Entropy -- Goodbye -- Sitka Bridge -- My Remedy -- S1 -- Delta Symbols Static -- Falling -- Breathe Deeply -- Drum, drum away -- Eaglefest Dancer -- Wasichana -- Writer & Artist Biographie

The longer term value of creativity judgements in computational creativity

During research to develop the Standardised Procedure for Evaluating Creative Systems (SPECS) methodology for evaluat- ing the creativity of ‘creative’ systems, in 2011 an evaluation case study was carried out. The case study investigated how we can make a ‘snapshot’ decision, in a short space of time, on the creativity of systems in various domains. The systems to be evaluated were presented at the International Computational Creativity Conference in 2011. Evaluation was performed by people whose domain expertise ranges from expert to novice, depending on the system. The SPECS methodology was used for evaluation, and was compared to two other creativity evaluation methods (Ritchie’s criteria and Colton’s Creative Tripod) and to results from surveying people’s opinion on the creativity of the systems under investigation. Here, we revisit those results, considering them in the context of what these systems have contributed to computational creativity development. Five years on, we now have data on how influential these systems were within computational creativity, and to what extent the work in these systems has influenced further developments in computational creativity research. This paper investigates whether the evaluations of creativity of these systems have been helpful in predicting which systems will be more influential in computational creativity (as measured by paper citations and further development within later computational systems). While a direct correlation between evaluative results and longer term impact is not discovered (and perhaps too simplistic an aim, given the factors at play in determining research impact), some interesting alignments are noted between the 2011 results and the impact of papers five years on

Kathleen Jamie

No abstract available

In Passing: Arab American Poetry and the Politics of Race

Racial passing has a long history in America. In fact, there are manifold reasons for passing, not the least of which is to reap benefits-social, economic and legal-routinely denied to people of color. Passing is conventionally understood to be a volitional act that either situationally or permanently allows members of marginalized groups to assimilate into a privileged culture. While it could be argued that those who choose to pass are, in a sense, race traitors, betraying familial, historical and cultural ties to personhood,1 Wald provides another way of reading passing, or crossing the line, as a practice that emerges from subjects\u27 desires to control the terms of their racial definition, rather than be subject to the definitions of white supremacy (6). She further contends that racial distinction, itself, is a basis of racial oppression and exploitation (6)