People, Land, Arts, Culture and Engagement: Taking Stock of the Place Initiative

This report serves as a point of entry into creative placemaking as defined and supported by the Tucson Pima Arts Council's PLACE Initiative. To assess how and to what degree the PLACE projects were helping to transform communities, TPAC was asked by the Kresge Foundation to undertake a comprehensive evaluation. This involved discussion with stakeholders about support mechanisms, professional development, investment, and impact of the PLACE Initiative in Tucson, Arizona, and the Southwest regionally and the gathering of qualitative and quantitative data to develop indicators and method for evaluating the social impact of the arts in TPAC's grantmaking. The report documents one year of observations and research by the PLACE research team, outside researchers and reviewers, local and regional working groups, TPAC staff, and TPAC constituency. It considers data from the first four years of PLACE Initiative funding, including learning exchanges, focus groups, individual interviews, grantmaking, and all reporting. It is also informed by evaluation and assessment that occurred in the development of the PLACE Initiative, in particular, Maribel Alvarez's Two-Way Mirror: Ethnography as a Way to Assess Civic Impact of Arts-Based Engagement in Tucson, Arizona (2009), and Mark Stern and Susan Seifert's Documenting Civic Engagement: A Plan for the Tucson Pima Arts Council (2009). Both of these publications were supported by Animating Democracy, a program of Americans for the Arts, that promotes arts and culture as potent contributors to community, civic, and social change. Both publications describe how TPAC approaches evaluation strategies associated with social impact of the arts in Tucson and Pima County. This report outlines the local context and historical antecedents of the PLACE Initiative in the region with an emphasis on the concept of "belonging" as a primary characteristic of PLACE projects and policy. It describes PLACE projects as well as the role of TPAC in creating and facilitating the Initiative. Based on the collective understanding of the research team, impacts of the PLACE Initiative are organized into three main realms -- institutions, artists, and communities. These realms are further addressed in case studies from select grantees, whose narratives offer rich, detailed perspectives about PLACE projects in context, with all their successes, rewards, and challenges for artists, communities, and institutions. Lastly, the report offers preliminary research findings on PLACE by TPAC in collaboration with Dr. James Roebuck, codirector of the University of Arizona's ERAD (Evaluation Research and Development) Program

Mustang Daily, May 3, 2002

Student newspaper of California Polytechnic State University, San Luis Obispo, CA.https://digitalcommons.calpoly.edu/studentnewspaper/6883/thumbnail.jp

LOUDER THAN WORDS: VOICING, SOUNDING, AND LISTENING TO DEAFNESS IN A QUIET PLACE

LOUDER THAN WORDS: VOICING, SOUNDING, AND LISTENING TO DEAFNESS IN A QUIET PLAC

Design for Accessibility: A Cultural Administrator's Handbook

Contains a guide for integrating older adults and people with disabilities into all aspects of an arts organization -- from planning and design to marketing and technical assistance

The Museum as an Inclusive Community: A Blueprint for Moving Forward

The focus of this study is museum accessibility for patrons with disabilities. The history of museums and their evolution into institutions that strive to create an inclusive community means that many aspects of the Americans with Disabilities Act of 1990 as well as the Architectural Barriers Act of 1968 are applicable. Developing a tool for assessing museum compliance with the law was key to gathering data to use for improving compliance with the law. Using this data and comparing current compliance in four museums to three major legal cases against museums showed common areas for improvement in accessibility in all facilities involved in this study. Technical solutions for creating an inclusive museum are pulled from legal settlements as well as accessibility websites and presented here

Copyright and Disability

A vast array of copyrighted works—books, video programming, software, podcasts, video games, and more—remain inaccessible to people with disabilities. International efforts to adopt limitations and exceptions to copyright law that permit third parties to create and distribute accessible versions of books for people with print disabilities have drawn some attention to the role that copyright law plays in inhibiting the accessibility of copyrighted works. However, copyright scholars have not meaningfully engaged with the role that copyright law plays in the broader tangle of disability rights

Copyright and Disability

A vast array of copyrighted works—books, video programming, software, podcasts, video games, and more—remain inaccessible to people with disabilities. International efforts to adopt limitations and exceptions to copyright law that permit third parties to create and distribute accessible versions of books for people with print disabilities have drawn some attention to the role that copyright law plays in inhibiting the accessibility of copyrighted works. However, copyright scholars have not meaningfully engaged with the role that copyright law plays in the broader tangle of disability rights

Banner News

https://openspace.dmacc.edu/banner_news/1050/thumbnail.jp

How sound cinema arrived in Ecuador : case study of Quito in the late 1920s and early 1930s

This monograph analyses the transition from silent to sound cinema in the late 1920s and early 1930s in Quito, Ecuador. In addition to being the first study of this kind on the film history of Ecuador, Quito’s location makes an interesting case study that it differs from other cities, even in Ecuador, since it is a landlocked capital city located in the highlands. With no digital newspapers available in Ecuador, this thesis is based on printed newspapers and manually photographed news. Thousands of pieces of research material were found in the local dailies of different archives in Quito searched under the premise of cinema. All press clippings were read and analyzed in detail. The material was interpreted by using the historical method and also by drawing on Michel Foucault’s discourse analysis. Among the most important conclusions, it becomes clear that sound cinema dominated the cinematographic scene in Quito much before the first screenings of the first sound films, which took place in September 1930. This occurred because sound cinema was widely discussed in the local dailies and magazines since 1928, much before the screening of this novel technology to Quito. Therefore, by the time the first sound films were shown in the city people had already been well aware of the pros and cons of this technology and indeed locals demanded the arrival of sound cinema in the city.Miten äänielokuva saapui Ecuadoriin. Tapaustutkimus 1920-luvun lopun ja 1930-luvun alun Quitosta Tämä väitöskirja tutkii siirtymää mykkäelokuvasta äänielokuvaan 1920-luvun lopun ja 1930-luvun alun Quitossa, Ecuadorissa. Sen lisäksi, että tämä on ensimmäinen tutkimus laatuaan Ecuadorin elokuvahistoriasta, Quiton sijainti tekee aiheesta mielenkiintoisen, koska Quito on vuoristossa sijaitseva sisämaan pääkaupunki. Ecuadorissa sanomalehdet eivät ole saatavissa digitaalisessa muodossa, joten tutkimus perustuu painettuihin sanomalehtiin, joista uutiset ja muu aineisto on tallennettu digikameralla tutkimuskäyttöön. Paikallisista sanomalehdistä löytyi Quiton eri arkistoista tuhansia elokuviin liittyviä tekstejä tutkimusmateriaaliksi. Kaikki elokuvaa sivuavat lehdistömateriaalit luettiin ja analysoitiin tarkasti. Materiaali tutkittiin historiallista menetelmää käyttäen sekä ammentamalla vaikutteita Michel Foucault’n diskurssianalyysistä. Yhtenä tärkeimpänä johtopäätöksenä on selvää, että äänielokuva hallitsi elokuva-alaa jo paljon ennen ensimmäisten äänielokuvien esitystä, joka tapahtui syyskuussa 1930. Tämä tapahtui, koska äänielokuvasta keskusteltiin laajasti paikallisissa sanoma- ja aikakauslehdissä vuodesta 1928 alkaen, paljon ennen tämän uuden teknologian ensimmäistä käyttöä Quitossa. Näin ollen, kun ensimmäiset äänielokuvat esitettiin, ihmiset olivat jo hyvin tietoisia tämän teknologian hyvistä ja huonoista puolista, ja paikalliset vaativatkin äänielokuvan tuomista kaupunkiin

& scream & holler : feminism and the performance of anger in the American twentieth and twenty-first centuries

As defending anger and “angry feminists” have become central projects for feminist critique, highly visible, large-scale performances of anger – such as rallies, protests, and consciousness-raising seminars – have been assigned special significance and value within feminist studies of anger. Urging for a paradigmatic shift away from thinking of feminist anger primarily through large-scale, organized performances practices, & Scream & Holler generates a new model of feminist anger that recognizes how the feeling matters in private, quotidian acts. Returning to the category of feminist anger in the wake of the scholarly turn to trauma and morning over the course of the last decade, & Scream & Holler theorizes what I term “everyday anger” in women’s literary culture: displays of anger narrated in drama, memoir, and fiction that unfold in the home or in domestic spaces, lack an immediate audience, and seem more hesitant than defiant. Accounting for the anger of communities of Black women, queer women, and women with psychiatric disabilities – women who might live in precarious conditions and who could risk experiencing violence if they articulate brash, open hostility or stage collective action – necessitates searching for ephemeral traces of anger that are coded and mediated. The writers I draw together approach anger ambivalently, challenging assumptions that expressing anger enables women to overcome the historical imperative to be passive.Englis