Eros and Miss Austen: A selective mythologycal explication of Jane Austen\u27s major novels

A few words about method are in order before approaching Jane Austen’s six major novels with a critical method which, although frequently misunderstood or too hastily dismissed as just another tangential pseudo-science, proffers rather to the discriminating reader a critical tool of immense value moving centripetally toward deeper levels of meaning and archaic significance not only in the creative and individual powers of the artist but with the central collective myth-making and ritual of the human community as well

The Classic, Spring 2015

Zwemer View: Private Higher Education: A Wise Investment; Around the Green: Learning Overseas; In Box; Honored for Service; New Music; New in the Classroom; Creative Bravery; Endowed Professor Appointment; Campus Life: On Screen; Returning; Inside Tents; Mission Leader; Summer Research Grants; Among the Best Values; Moving On; New Science Major; Library Director; Critical Acclaim; Accounting for Excellence; Face Value: Harlan VanOort; Oxford Bound; September Opening; Educating Master Teachers; Mission is our Business; Award-Winning Publications; Red Zone; A Scholar\u27s Life Cut Short; 1000 Words: Social Agenda; Looking Race in the Face; Summer Baby; The Bucket List; Red Ties; Letters From War; 25 Years of Love; Moving Experiences; The Germinator; Class Notes; New Arrivals; Marriages; In Memoriam; Classic Thoughts: Race to the Table; Leave a Legacy; Excellence Abroadhttps://nwcommons.nwciowa.edu/classic2010/1009/thumbnail.jp

TACTivities: Fostering Creativity through Tactile Learning Activities

As mathematics teachers, we hope our students will approach problems with a spirit of creativity. One way to both model and encourage this spirit – and, at the same time, to keep ourselves from getting bored – is through creative approaches to problem design. In this paper, we discuss ``TACTivities\u27\u27 – mathematical activities with a tactile component – as a creative outlet for those of us who teach mathematics, and as a resource for stimulating creative thinking in our students. We use examples, such as our ``derivative fridge magnets\u27\u27 TACTivity, to illustrate the main ideas. We emphasize that TACTivities can be engaging, to teachers and learners alike, at any level of mathematics, by including examples from different mathematics courses (cal- culus and mathematics for elementary teachers). As an example, our derivative fridge magnets have moving pieces of words that look like small refrigerator magnets. These small pieces can be combined to make true mathematical statements, of the form d/dx (some function) = some other function. There was creativity involved in the creation of these magnets, as the mathematics had to be challenging enough not to bore students yet have an easy entry for students to be successful. The students working with the magnets can use their creativity along with their mathematical knowledge while learning and/or reviewing a mathematical concept – in this case derivatives. We will expand on the creative side of the creation and implementation of TACTivities in this paper. Note that our definition of ``tactile\u27\u27 only means moving pieces (usually pieces of paper), as this is different than work from others that involves tactile props -- e.g. pipe cleaners, yarn, Spirographs, building blocks, and so on. This other work is invaluable, and we use props like these ourselves at times, but we believe that our TACTivities add a different dimension to tactile learning

A new sound mixing framework for enhanced emotive sound design within contemporary moving-picture audio production and post-production.

This study comprises of an investigation into the relationship between the creative process of mixing moving-picture soundtracks and the emotions elicited by the final film. As research shows that listeners are able to infer a speaker’s emotion from auditory cues, independently from the meaning of the words uttered, it is possible that moving-picture soundtracks may be designed in such a way as to intentionally influence the emotional state and attitude of its listening-viewers, independently from the story and visuals of the film. This study sets out to determine whether certain aspects of audience emotions can be enhanced through specific ways of mix-balancing the soundtrack of a moving-picture production, primarily to intensify the viewing experience. Central to this thesis is the proposal that within a film soundtrack there are four distinct ‘sound areas’, described as the Narrative, Abstract, Temporal and Spatial; and these form a useful framework for both the consideration and the creation of emotional sound design. This research work evaluates to what extent the exploration of the Narrative, Abstract, Temporal and Spatial sound areas offers a new and useful framework for academics to better understand, and more easily communicate, emotive sound design theory and analysis; whilst providing practitioners with a framework to explore a new sound design approach within the bounds of contemporary workflow and methodology, to encourage an enhanced emotional engagement by the audience to the soundtrack. By analysing the work of sound theorists and practitioners, developing a new sound design framework and critically reflecting on personal creative practice, this research suggests that different ways of balancing a soundtrack can influence an audience’s emotional response to a film; and that the proposed Four Sound Areas framework is a useful way to look at the soundtrack when approaching a mix from the point of view of its emotional outcome

Institutio oratoria, book XI 1, 1 – XI 3, 29 (Introduction and translation)

The most important thing for orator is to know which style is the best to inspire benevolence, to provide insight and evoke emotions in a judge, keeping in mind what results we should expect to gain in various parts of the speech. The future orator should be taught that to speak appropriately is to take into account not only what is useful, but also what is proper. The power of memory gives us an abundance of examples, rules, opinions, words and deeds, thus memory is accurately called the treasure of speech. Even a mediocre speech will be more moving when succoured by the force of actio than the best speech devoid of it. Nothing can be perfect if the gifts of nature are not supported by creative zeal

The Effect of Change Management on the Organizations Innovation

The rate of competition of businesses is moving very fast, this increase the importance of establishing new management methodologies to create successful changes and to achieve a high competitive environment. Any strategy in any field should change from time to time to keep up with the time needs. As most of organizations need to move from a current state to a required future state, planning a strategy to achieve this movement is very important and needs to be creative. Managing itself has a big role in increasing profit and the effectiveness of the company. This paper is interested in the effects of management in the companies' innovation and how its reflects on the profit and comfort in working. So, this will show the relationship between the management and the organizations innovation. Keywords: key words, orkforce sizing, job-shop production, holonic mode

Her dark materials: conjuring the feminine imaginary in practice

Paper presented at the Transtechnology conference; panel 3 Imaginary Materialities: Hypnosis as a Medium for Artistic and Creative Practice, with Dr Hannah Drayson (chair, and Transtechnology Research), and Matthew MacKisack (Goldsmiths, University of London)My paper explores film-making ‘as (a) woman’, an audiovisual form of écriture féminine, a term used by Hélène Cixous and others to denote ‘feminine writing’, the transformative practices that come through the body, with reference to Maya Deren’s theorisation of cinema and her ethnographic study of Haitian voodoo belief systems. In creative practice, I take the feminine position through an embodied layering of consciousness, entering a trance or dream state, which for Freud was, "the threshold between life and death ... a space of uncertainty in which boundaries blur between rational and the supernatural, the animate and the inanimate" (Mulvey, 2006). Deren (1960) has written of the ‘invisible underlayer of an implicit double exposure’ that is unrolled beneath the stream of moving images when we watch a film. We construct meaning from the memories and dreams evoked, from the film itself and the space in which the experience takes place. Although Deren refers to the visual realm, reflecting the cultural primacy of the sense of sight, the sonic environment of the film also affects our understanding. The double exposure to which she refers is the unconscious interweaving of imaginary materials - our own subjectivity and the fictive reality we perceive. As a maker, in giving agency to multiple strata of the self, I conjure the material specificities and repetitive rhythms of light and shadow that form the illusion of moving image. Life and representation entwine to the rapturous beat of animate and inanimate states of being, in the flux of the present moment, within which - to borrow Deren’s words - life and death become one and the same. Each material loop of space-time, telling and knowing, woven through its link to a maternal other, continually in process, making and unmaking

Jesuit Universities Should Be Taking the Lead in Modeling the Lessons of Laudato Si’

Laudato Si’ emboldens every Jesuit university to become an institutional leader in moving purposefully toward a just, humane, and sustainable world. The encyclical is a remarkably visionary, comprehensive and prescient document — a truly pathbreaking call to action. It is not overtly prescriptive, rather, it invites our creative imaginations in the service of saving our planet and doing so in a manner that promotes human dignity and social justice. In the end, we embrace and consecrate the document through action, not through protracted debate. Laudato Si’ calls us to take steps that foster both survival and just sharing in a world of seven billion inhabitants. As institutions founded and nurtured on noble ideals, and now given an historic imprimatur by Pope Francis, Jesuit universities can and should find our ways to integrity on climate change and social justice — in both our words and actions. This discussion is a call for institutional leadership toward modeling and promoting individual behaviors that demonstrate our moral commitment to a just and sustainable world

Cookbook anxiety

The output is a creative project that responds to the Cookery Collection, one of the special collections in Leeds University library, which contains printed and archival material relating to food and cooking that dates from the late 15th Century until the present day. Research process: The project responds to selected cookbooks and printed material through still photography and moving image, especially mid 20th Century cookbooks containing early examples of colour photography. The work is inspired by mainstream images of food in cookbooks, particularly visual depictions of idealised lifestyles which conjures shared social fantasies, perpetuated by mainstream images and our own internalisation of them. In my response, still photographs and moving image sequences explore staged scenarios and table sets which parody the lifestyles depicted in the books, to explore the social and domestic anxieties subtly generated and communicated. Research insights: Cookbooks are utilitarian - they have an instructional purpose, but are also aspirational, and filled with social-class anxieties. They not only tell one how to do a thing, but also imply value judgements, sometimes directly through words, and sometimes indirectly through photographs. The reality of preparing to entertain is hugely influenced by visual culture – we try to attain the mythical ideal, and in doing so perpetuate the visual myth. The output was exhibited and presented at; MAKE GOOD (group exhibition), Leeds Arts University, Sept 2019; PEERS (group exhibition), Vrij Paleis, Amsterdam, Sept 2019

The audiovisual structure of onomatopoeias: An intrusion of real-world physics in lexical creation

Sound-symbolic word classes are found in different cultures and languages worldwide. These words are continuously produced to code complex information about events. Here we explore the capacity of creative language to transport complex multisensory information in a controlled experiment, where our participants improvised onomatopoeias from noisy moving objects in audio, visual and audiovisual formats. We found that consonants communicate movement types (slide, hit or ring) mainly through the manner of articulation in the vocal tract. Vowels communicate shapes in visual stimuli (spiky or rounded) and sound frequencies in auditory stimuli through the configuration of the lips and tongue. A machine learning model was trained to classify movement types and used to validate generalizations of our results across formats. We implemented the classifier with a list of cross-linguistic onomatopoeias simple actions were correctly classified, while different aspects were selected to build onomatopoeias of complex actions. These results show how the different aspects of complex sensory information are coded and how they interact in the creation of novel onomatopoeias.Fil: Taitz, Alan. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Física de Buenos Aires. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Instituto de Física de Buenos Aires; ArgentinaFil: Assaneo, María Florencia. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Física de Buenos Aires. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Instituto de Física de Buenos Aires; ArgentinaFil: Elisei, Natalia Gabriela. Universidad de Buenos Aires. Facultad de Medicina; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; ArgentinaFil: Tripodi, Monica Noemi. Universidad de Buenos Aires; ArgentinaFil: Cohen, Laurent. Centre National de la Recherche Scientifique; Francia. Universite Pierre et Marie Curie; Francia. Institut National de la Santé et de la Recherche Médicale; FranciaFil: Sitt, Jacobo Diego. Centre National de la Recherche Scientifique; Francia. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Institut National de la Santé et de la Recherche Médicale; Francia. Universite Pierre et Marie Curie; FranciaFil: Trevisan, Marcos Alberto. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Física de Buenos Aires. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Instituto de Física de Buenos Aires; Argentin