Supporting informal communication and closeness through video snapshots

As organisations grow and the physical distance between individuals increases, the simple informal communication that is essential for creativity declines. This paper presents a prototype system that was designed to increase informal communication by restoring awareness between physically distant employees. The key representation of individuals within this prototype was through frequently updated video snapshots. Users of the system reported feeling 'closer' to each other. We also suggest further experiments to assess the effects of video snapshots on trust

Review: Interject, Disrupt, Vanish

Review of the performance: Interject, Disrupt, Vanish

The Topology of Harry Potter: Exploring Higher Dimensions in Young Adult Fantasy Literature

As one of the most beloved series in children’s literature today, the Harry Potter books excite students of all ages with the adventures of living in a magical world. Magical objects (e.g., bottom-less handbags, the Knight Bus, time turners, and moving portraits) can inspire generalizations to mathematical concepts that would be relevant in an undergraduate geometry or topology course. Intuitive explanations for some of the magical objects connect to abstract mathematical ideas. Weoffer a typology with a total of five categories, including Three Dimensions in Two Dimensions, Higher Dimensions in Three Dimensions, Two and Three Dimensional Movement, Higher Dimensional Movement, and Higher Dimensional Traces. These categories attempt to explain supernatural events from the wizarding world using mathematical reasoning in order to increase engagement in topics from topology to differential geometry. Our pedagogical goal is to pique student interest by linking these abstract concepts to familiar examples from the world of Harry Potter. Put on your Ravenclaw robe or Gryffindor scarf and join us

Intra-vulnerabilities: An Artistic Strategy for Co-creating Culture and Policy with Communities, Funders and Artists

Funding arts and cultural activity for socially and economically vulnerable communities in the UK carries a deeply embedded practice of culture as compensation. With a tendency to measure the success of these activities through models of impact constructed by funders, such cultural programmes can omit community knowledge and subsequently further their marginalisation. This thesis investigates whether and how funders, artists, and communities can disrupt these one-sided instrumental approaches, by working together towards co-creating culture and policy. It does so specifically through artistic practice as research (PaR)- interrogating a participatory, transdisciplinary installation practice as a productive site for embodying new relationships between those giving and those receiving. As funders, artists and communities performatively shift between expertise and learning, the thesis proposes that the interdependence of their respective sets of knowledge enacts a more equitable policy process for cultural programming in service of a spectrum of socio-economic, creative and aesthetic needs. Underpinned by Karen Barad’s ‘intra-active agential realism,’ the thesis develops a concept of ‘intra-vulnerabilities’, whereby vulnerability is a positive term, extending beyond its usual placement within marginalised communities to include a range of differentiated, circumstantial vulnerabilities amongst funders and artists. As all three parties participate in five iterative PaR projects, vulnerabilities manifest in personal reflection, listening, dialogue, acts of art-making and recognition of a ‘mutual entailment’ in social inequities. Integrating Rosalyn Diprose’s reframing of generosity as a multi-directional landscape of giving, the concept of intra-vulnerabilities (as generated specifically within artistic practice) manifests a valuable interdependence between nuanced and changing vulnerabilities across the provision spectrum that can not only inform but enact policy. Developed in collaboration with Hammersmith United Charities, a 400 year-old housing and community grants giving organisation, the PaR projects ultimately inform and produce an artistic strategy for co-creating culture and policy. An online portfolio of the practice manifests in tandem with the writing, supporting the thesis’ contribution to new knowledge in asserting artistic practice as a key component for artistic policy: https://www.carolyndefrin.com/onlineportfolio . This online portfolio is additionally submitted on a DVD to accompany the written thesis

Van Gogh in Arles

Taha Toros Arşivi, Dosya Adı: Taha Toros. Not: Sergi, 18 Ekim - 30 Kasım 1984 tarihleri arasında düzenlenmiştir.İstanbul Kalkınma Ajansı (TR10/14/YEN/0033) İstanbul Development Agency (TR10/14/YEN/0033

Offering

Projected onto a panoramic screen using three projectors, the film presents a cyclical journey that begins with an intimate depiction of a matador being dressed for a bullfight by his armour bearer. This ritualistic procedure takes place in a small, sparsely furnished room and is meticulously executed, almost choreographed. The film moves on to slowly navigate through the architectural spaces of a solitary Corrida and then to the physical encounter between man and beast. Finally, the film returns to the small room of the opening sequence and shows the matador undressing at the end of the fight. The film aims to depict, with meticulous attention to detail, an intense and private encounter between culture and the sublime, between a matador and a bull, between life and mortality. It is intended to produce an effect that is psychologically penetrating, and that reveals the carnal affection and sensual affinities between man and beast. I aim to avoid taking a moral stand, but to converse with a long painterly tradition of religious iconography. Through contemporary and historical juxtapositions – the film includes depictions of Old Master paintings - I seek to create a timeless space, a space that cannot be anchored, a space that hangs between past and present, between art history and contemporary practice. Offering forms part of my ongoing series of moving portraits. These include Evaders (2009) and Will You Dance For Me (2011). All three films aim to depict the existential experience of single individuals who occupy a space that is both performative and biographical